Be 


> 


' 


oe 
[' 
Lee 


} 


iy 
youd 
tO . 
aie Bp 
jas) 


SC 
pat = 
ej | 
4 x 
SRA bay: 
dh | 
as 
f Tx 
A’, eh aid 


Natale 
\ a 
“y } mh 4 


y/ t 

\ \ e 3 
i) A Ne 

a emia id 


as ae M ( 
/ das me 
Nae eek 
Kale 
she ¥ 
ate 
tr) i » 
as \ 
Pees, 
esas tas ae 
‘ \( ‘h ( 2 


ou Meet? 


;' OL LD ENGLISH FURNITURE. 
a PAINTINGS 


airs rer oy PORE 
Saleen G: penis Os year Sia 
4 “ho. sé Kid, ee 
7 ‘ : A. A ¥ A KO } 
ay 


| AND OBJECTS OF ART 
: | i ; FROM | 
4 | . TWICKENHAM, ENGLAND 


ae _ TO BE SOLD BY ORDER OF 
= MISS ANNE CHAPMAN 
___—_—s SION HOUSE, TWICKENHAM, ENGLAND 
GOLD SNUFFBOXES 
& WASHINGTON RELICS, ETC. 
TO BE SOLD BY ORDER OF 


MR. JOHN L. CLAWSON 


BUFFALO, NEW YORK 


URNITURE, TAPESTRIES, 
NTINGS, ANTIQUE BRONZES 


-FROM THE COLLECTIONS OF 
‘THE EARL OF LOVELACE, LORD FOLEY 
THE HON. KEITH TURNOUR-FETHERSTONHAUGH 
a TO BE SOLD BY ORDER OF 


~ROBERSONS, t1tp. — 


[BY APPOINTMENT TO HIS MAJESTY THE KING] 
~ KNIGHTSBRIDGE HALL, LONDON, ENGLAND 


INNSBOROUGH SKETCH-BOOK 
Bt QUIS XV KINGWOOD MARQUETRY 
os LADY’S SECRETARY 


TO BE SOLD FOR THE ACCOUNT OF 


R REDITORS OF WARWICK HOUSE, trp. 


tR OF UNITED STATES COURT, SOUTHERN DISTRICT OF NEW YORK 
E Re ruIDGk. TRUSTEE: BOSKEY, SCHILLER & SERLING, ATTORNEYS 


{ISH 16rs CENTURY TAPESTRY 


TO BE SOLD BY ORDER OF 


MR. ALFRED P. DENNIS 


WASHINGTON, D. C. 


ia AND OTHER RARE: AND BEAUTIFUL 
ce OBJECTS OF ART 


y f 3 
\ i} fy ong : “ 
Tee of 7 ain Cay: 
& wg See aden b: =i , i 


SALE NUMBER 1886 
PUBLIC EXHIBITION FROM WEDNESDAY, NOVEMBER TWENTY-SIXTH 


TO BE SOLD BY AUCTION 
AT UNRESERVED PUBLIC SALE 
FRIDAY EVENING, SATURDAY AFTERNOON 
DECEMBER FIFTH, SIXTH 
AT EIGHT-FIFTEEN AND TWO-THIRTY 


THE ANDERSON GALLERIES 


MITCHELL KENNERLEY, [Presipent| 
489 PARK AVENUE AT FIFTY-NINTH STREET 
NEW YORK 


SION HOUSE, TWICKENHAM 
REPRODUCED FROM “‘ARCHITECTURAL REMAINS OF RICHMOND” 


(DRAWN IN LITHOGRAPHY BY THOMAS R. WAY, 
WITH TEXT BY FREDERIC CHAPMAN) 


bane 
2 er 


> “> 

E: 

zy 
ash 


, PAINTE 
: 


> AND OBJ 


Caen: s ee 


rae 


OLD ENGLISH FURNITURE ~ 
PAINTINGS 
AND OBJECTS OF ART 


FROM 
SION HOUSE 
TWICKENHAM, ENGLAND 
TO BE SOLD BY ORDER OF 


MISS ANNE CHAPMAN 


SION HOUSE, TWICKENHAM, ENGLAND 


GOLD SNUFFBOXES 
MINIATURES & WASHINGTON RELICS, ETC. 


TO BE SOLD BY ORDER OF 


MR. JOHN L. CLAWSON 


BUFFALO, NEW YORK 


FURNITURE, TAPESTRIES, 
PAINTINGS, ANTIQUE BRONZES 


FROM THE COLLECTIONS OF 
THE EARL OF LOVELACE, LORD FOLEY 
COL. THE HON. KEITH TURNOUR-FETHERSTONHAUGH 
TO BE SOLD BY ORDER OF 
ROBERSONS, trp. 
[BY APPOINTMENT TO HIS MAJESTY THE KING] 
KNIGHTSBRIDGE HALL, LONDON, ENGLAND 


GAINSBOROUGH SKETCH-BOOK 
& LOUIS XV KINGWOOD MARQUETRY 
LADY’S SECRETARY 
TO BE SOLD FOR THE ACCOUNT OF 


CREDITORS OF WARWICK HOUSE, trp. 


BY ORDER OF UNITED STATES COURT, SOUTHERN DISTRICT OF NEW YORK 
JULIAN HARTRIDGE, TRUSTEE: BOSKEY, SCHILLER-& SERLING, ATTORNEYS 


FLEMISH 16Th CENTURY TAPESTRY 


TO BE SOLD BY ORDER OF 
MR. ALFRED P. DENNIS 
WASHINGTON, D. C. 
AND OTHER RARE AND BEAUTIFUL 
OBJECTS OF ART 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 

The highest bidder to be the buyer. In all cases of disputed bids the decision 
of the Auctioneer shall be final. 

Buyers to give their names and addresses and to make such cash payments on 
account as may be required, in default of which the lots purchased shall be 
resold immediately. 

Purchases to be removed at the buyer’s expense and risk within twenty-four 
hours from the conclusion of the sale, and the remainder of the purchase money 
to be paid on or before delivery, in default of which The Anderson Galleries, 
Incorporated, will not be responsible for any loss or damage whatever, but the 
lot or lots will be left at the sole risk of the purchaser, and subject to storage 
charges. 

All lots will be placed on public exhibition before the date of sale, for examina- 
tion by intending purchasers, and The Anderson Galleries, Incorporated, will 
not be responsible for the correctness of the description, authenticity, genuine- 
ness, or for any defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 

If accounts are not paid and purchases removed within twenty-four hours of the 
conclusion of the sale, or, in the case of absent buyers, when bills are rendered, 
any sum deposited as part payment shall be forfeited, and The Anderson Gal- 
leries, Incorporated, reserve the right to resell the lot or lots by either private 
or public sale, without further notice, and if any deficiency arises from such 
resale it shall be made good by the defaulter, together with all expenses in- 
curred. This condition shall be without prejudice to the right of this Com- 
pany to enforce the sale contract and collect the amount due without such 
resale, at its own option. 

The Anderson Galleries, Incorporated, will afford every facility for the employ- 
ment of carriers and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 

The Anderson Galleries make no charge for executing orders for their cus- 
tomers and use all bids competitively, buying at the lowest price permitted 


by other bids. 
A Priced Copy of this Catalogue may be obtained for Two Dollars 


THE ANDERSON GALLERIES, INC. 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 
TELEPHONE PLAZA 9356 
SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN AND MR. A. N. BADE 


rane 


Sone! 


ed 


SION HOUSE 
AND FREDERIC CHAPMAN 


FREDERIC CHAPMAN lived at Sion House, Twickenham, for more than a 
quarter of a century. It is a house, and a neighborhood, rich with asso- 
ciations; and richer now, to those who turn occasionally from the Main 
Streets of literature or life to the quiet bypaths, through its association 
with this modest, unassuming, gifted man. In a book* for which Thomas 
Rk. Way provided the beautiful drawings, and Frederic Chapman wrote the 


- quiet notes from the fulness of his knowledge, there are memorable pictures 


of this old-world, old-time residence, and its different occupants and 


- owners. 


“The second house from the river, known as Sion House, was the resi- 
dence of John Sydenham, Esq., a descendant of the celebrated physician 
from whom the Sydenham Society takes its name. 

“Between him and the widowed Countess of Catherlough, who lived in 
King Street, a ‘becoming’ friendship existed, according to the Anecdotes 
of Miss Letitia Matilda Hawkins. . . . Miss Hawkins could well re- 
member Oliver Goldsmith teaching her ‘to play Jack and Gill by two bits 
of paper on his fingers,’ and Dr. Johnson fondling her ‘in his way,’ and 
asking her if she would be his little housekeeper. ¥. 

Miss Hawkins published a large number of novels which have 
passed into oblivion; but her three volumes of Anecdotes still possess 
much interest, and present many vignettes of Twickenham and Twick- 
enham people during the period which her long life enabled her to recall. 
Here, for instance, is her vivid description of Horace Walpole: 

“His figure was not merely tall, but, more properly, long and slender 
to excess; his complexion, and particularly his hands, of a most unhealthy 
paleness. . . . His eyes were remarkably bright and penetrating, very 
dark and lively; his voice was not strong, but his tones were extremely 
pleasant, and, if I may so say, highly gentlemanly. I do not remember 
his common gait; he always entered a room in that style of affected deli- 
cacy which fashion had made almost natural; chapeau bras between his 
hands, as if he wished to compress it under his arm; knees bent, and feet 
on tiptoe, as if afraid of a wet floor! His dress in visiting was most usually 
in summer, when I most saw him, a lavender suit; the waistcoat em- 
broidered with a little silver, or of white silk worked in the tambour; 
partridge silk stockings, and gold buckles; ruffles and frill generally lace! 
I remember, when a child, thinking him very much undressed if at any 
time, except in mourning, he wore hemmed cambric. In summer no 
powder, but his wig: combed straight, and showing his very smooth, pale 
forehead, and queued behind; in winter powder.” 


* Architectural Remains of Richmond Twickenham Kew Petersham and Mortlake. 


Miss Hawkins’ father, Sir John Hawkins, was a direct descendant of 
the famous Elizabethan sea-captain. He was a devoted fisherman, and 
will be long remembered through the edition of The Compleat Angler 
which he annotated. He was probably, however, far prouder of his History 
of Music, a work in five quarto volumes, which he undertook at the in- 
stance of Horace Walpole. He published, too, a Life of Dr. Johnson, for 
which he was sharply censured by Boswell. ‘By assiduous attention upon 
Johnson in his last illness, he obtained,” says Boswell, “the office of one of 
his executors.” Sir John’s intimacy with Johnson, however, was of long 
standing. He was a member of a club founded by the formidable Doctor, 
and an original member of ‘The Literary Club”. 4 

It was here, at Sion House, with the ghosts of more than Johnson and ~ 
Walpole and Hawkins, that Frederic Chapman lived. He worked in Lon- 
don, with John Lane the publisher, at the Bodley Head, Vigo Street—as 
George Meredith worked in a similar way for Chapman and Hall. He was 
the first to translate Anatole France into English: his edition of the great 
Frenchman’s works was an extraordinary achievement, even for him; but 
there are many well-known men who owe much to his advice and help- 
fulness; and there are many others, not well known, who remember him 
with real affection. That is why I am writing this brief introduction for 
the catalogue in which the personal possessions that he gathered here and 
there are described. They are being sold for the benefit of his sister, Miss 
Anne Chapman, with whom he lived at Sion House; and it is only right 
that one of those who knew him should say a few words about a man 
who never said anything about himself. 

CHARLES VALE 


ORDER OF SALE 


ZE, MARBLE AND WOOD SCULPTURES 1- 42 


43- 47 
Be iss 

al AFTERNOON, DECEMBER SIXTH 
| OLD ENGLISH FURNITURE 84-124 
_ IVORY CARVINGS 125-133 


- RARE PERSONAL RELICS OF GEORGE WASHINGTON 134-139 


RARE GOLD SNUFFBOXES, MINIATURES AND 
OTHER OBJECTS OF ART 140-185 


a, RARE OLD SEVRES AND CHINESE PORCELAINS 186-196 


_ FINE OLD ENGLISH AND FRENCH FURNITURE 197-255 


SALE 


FRIDAY EVENING, DECEMBER LPT EH, AT 8:15 


FIRST SESSION 


NUMBERS 1-83 


RARE BRONZE, MARBLE AND WOOD SCULPTURES 


NUMBERS 1-42 


ANTIQUE SPANISH SET OF BRONZE WEIGHTS 
Contained in engraved case. (Robersons) 


SMALL ANTIQUE BRONZE GROUP 
Group of Dancing Fauns. On red porphyry plinth. (Robersons) 
Height, 101% imches 


PAIR OF ANTIQUE SMALL BRONZE FIGURES OF ATLAS 
Standing on onyx plinths. (As is) (Robersons) (2) 
Height, 9 inches 


SMALL BRONZE FIGURE OF DANCING WOMAN 
ITALIAN, 16TH CENTURY 


On wood plinth (Robersons) Height, 414 inches 


SMALL BRONZE FIGURE OF MERCURY 
ITALIAN, 16TH CENTURY 


Standing on Sienna marble plinth. (Robersons) Height, 634, inches 


ANTIQUE ITALIAN POLYCHROME AND CARVED WOOD 


FIGURE 
Kneeling figure of minstrel with bagpipes. (Robersons) (As is) 
Height, 18 inches 


SMALL ALLEGORICAL GILT BRONZE STATUETTE 

FRENCH, 18TH CENTURY 
Winged bust of Time, with broken column, etc. On red porphyry 
plinth. (Robersons) Height, 91% inches 


PAIR OF TERRA-COTTA FIGURES OF CUPIDS 
FRENCH, 18TH CENTURY 


On circular wood bases. (As is) (Robersons) (2) 
Height, 12 inches 


10 


at 


12 


13 


14 


15 


16 


17 


TWO EARLY 17TH CENTURY INDO-CHINESE CARVINGS 
Royal personages in sitting posture. (Sion House) (2) 
Height, 14 inches 


BRONZE STATUETTE ITALIAN, 16TH CENTURY 
Bacchus standing by a column, holding cup in his left hand. Square 
base. (Robersons) Height, 1414 inches 


GILT BRONZE GROUP BY VANNETTI 
Napoleon standing beside his horse. Green marble base. Signed. 
(John L. Clawson) Height, 18 inches; length, 15 inches 
From the Brady Collection. 


CONTEMPORARY BUST OF NAPOLEON IN CARRARA MARBLE 
Very fine modelling of Napoleon as First Consul. Full bust; head 
slightly turned to the left, wearing buttoned coat with embroidered 
collar. The lower part with a spread eagle and oak leaves; standing 
upon a flaming torch. From Russia. (John L. Clawson) 

Height, 29 imches 


CONTEMPORARY BRONZE BUST OF NAPOLEON BONAPARTE 
Wearing the hair long and tied at the back, high-collared military 
coat and stock. Gilt bronze and mottled green marble plinth. 
(John L. Clawson) Height, 141% inches 


ANTIQUE BRONZE HEAD AND TORSO OF MALE FIGURE 
On shaped plinth. Very rare. (Robersons) Height, 11 inches 
From the Stantain Collection. 


BRONZE FIGURE ATTRIBUTED TO GIOVANNI DA BOLOGNA 
Dionysus devouring a child. Very fine modelling. On marble base. 
(Robersons) Height, 231% inehes 


ANTIQUE ITALIAN EAGLE AND LION BRONZE DOOR 
KNOCKER 
A handsome massive bronze knocker formed as a figure of a lion sus- 
pended from a lion’s mask. Mounted on oval oak plaque with 
eagles, rams’ masks and acanthus festoons. (Robersons) 

Size, 26 x 18 inches 


BRONZE GROUP FRENCH, LATE 18TH CENTURY 
A woman in flowing costume grieving over a semi-nude figure which 
lies upon a draped couch. (Robersons) Length, 14 inches 


2 


18 


19 


20 


21 


22, 


23 


24 


25 


ANTIQUE ITALIAN BRONZE MALE FIGURE 
Attributed to Giovanni da Bologna. Nude male figure, possibly a 
warrior. Standing on wood base. (Asis) (Robersons) 

Height, 16 inches 


SET OF FOUR ANTIQUE ITALIAN BRONZE PLAQUES 
School of Benvenuto Cellini. Representing the four seasons. In 
chased ormolu frames. (Robersons) (4) Size, 1014 x 7 inches 


EQUESTRIAN BRONZE STATUETTE OF NAPOLEON 

Signed Meissonier. Study in bronze of the mounted figure of Napo- 
leon, immortalized in the famous artist’s “Retreat from Moscow”. 
(John L. Clawson) Height, 16 inches 


TERRA-COTTA BUST ON MARBLE PEDESTAL 
| FRENCH, 18TH CENTURY 
Life-size full bust of a lady as a muse. On ebony plinth. Signed at 
the back, “A. Carrier Belleusi.” On variegated marble pedestal in 
the form of a Roman column. (Robersons) 
Total height, 5 feet 6 inches 


LARGE CONTEMPORARY BRONZE STATUETTE OF 
NAPOLEON I 

Standing figure of the Emperor in military uniform; a dying eagle 
hes at his feet. Russian. (John L. Clawson) Height, 34 inches 


CARVED FIGURE OF THE KNEELING MADONNA 

SPAIN, ABOUT 1600 
Extremely fine carving. The Madonna represented in an attitude 
of meditative prayer in flowing robes, which still show traces of old 


polychromy characteristic of Spanish Renaissance art. Fine patina. 
Height, 1014 inches 


BRONZE SACRIFICIAL VESSEL CHINA, YUAN PERIOD 
Body of flattened ovoid shape. Wide mouth. Decorated with bands 
engraved with archaic animals on a ground of fretwork. Ring 
handles. Dull green patina. Height, 91% inches 


BRONZE GROUP FRENCH, EARLY 18TH CENTURY 
A seated figure of an aged man on a rock holding an inverted pitcher 
on his left knee. A symbolical group. This motif was frequently 
used to symbolize river sources and other like subjects. Sculptor 
unknown. (Robersons) Height, 16 inches 


26 


27 


28 


29 


GROUP OF CARVED WOOD 

GERMANY, SUABIAN SCHOOL, ABOUT 1480 
A group of simple dignity, representing St. Anne with the Virgin 
and the Christ Child. The head of St. Anne is an especially impres- 
sive bit of carving. Fine old polychromy. Height, 11% inches 


RARE ITALIAN IRON PLAQUE INLAID WITH GOLD 
ABOUT 1600 


: Rectangular. Embossed and partly gilded. Under an arch borne by 


two fluted columns in relief, is represented the entombment of Christ. 
In the spandrels are two angels with the instruments of the Passion. 
The inner plane of the arch is decorated with gilded rosettes ; the 
flutings of the columns are also gilded. 

Height, 734, inches; width, 6 imches 
From the famous Spitzer Collection, Paris; later in the F. von Gans 
Collection, Frankfort.. 


BRONZE STATUETTE OF A BOY 

NORTH ITALIAN, EARLY 18TH CENTURY 
Standing figure of a sturdily built young boy. On ebonized wood 
base. (One foot slightly damaged) Height, 24 inches 
Formerly in the Collection of Count Lehndortf. 


ALBERT BARTHOLOME 


FRENCH SCHOOL, 1848-1919 


BATHING GIRL IN TINTED LIMESTONE 
This charming work of the sculptor of the famous “Monument aux 
Morts” at the entrance to the Pére Lachaise Cemetery in Paris, rep- 
resents a kneeling maiden, nude, drying her hair in her hands. The 
eyes are half-closed; the face has a strange dreaminess, and the fluid 
lines of the girlish body are delicately beautiful. 

Height, 42 inches 

[SEE ILLUSTRATION | 


BUST OF A FEMALE SAINT GERMAN, LATE 15TH CENTURY 
An interesting work showing the influence, if not the manner, of 
Joerg Syrlin of Ulm. The saint is represented in an attitude of 
prayer. The ample draperies, the realistically treated locks, show the 
hand of a master. Set in green velvet canopy. 

Height, 22% inches 


ESTON 
ME 


IRL IN TINTED LIM 
Y ALBERT BARTHOLO 
[NUMBER 29] 


BATHING G 
B 


THE ADORATION OF THE MAGI 
FLEMISH CARVED WOOD PANEL, ABOUT 1500 


[NUMBER 31] 


31 FLEMISH CARVED WOOD PANEL BRUGES, ABOUT 1500 


The Adoration of the Magi, executed in high relief. A piece of un- 
usual charm. The sweet naiveté of the Virgin and the lovely grace 
of the child, leaning toward his kingly visitor, in pleasing contrast 
with the rugged, bearded figures of the Magi. The gentle charm 
with which the subject is presented is enhanced by the mellow colors \ 
of the original polychromy. The tone of the gilding is especially } 
fine. Narrow frame of the period. 

Height, including frame, 24 inches; width, including frame, 23 inches ‘ 
From the collection of an Austrian nobleman. 


[SEE ILLUSTRATION | 
6 


D2 


Sts) 


ANTIQUE ITALIAN BRONZE STATUETTE OF HERCULES 
AND EMBLEMATIC GROUPS, “THE TIBER” AND “THE NILB”’ 


[NUMBER 32] | [NUMBER 33] [NUMBER 32] 


THE TIBER AND THE NILE 

A pair of finely modelled Italian sixteenth céntury bronze emble- 
matic groups. Each with a reclining laureated River God, with 
drapery, of voluminous folds, thrown slightly over their lower limbs 
and partly forming a covering to the plinth. The God representing 
the Tiber rests upon his right elbow, holding a cornucopia of fruit 
in his right hand beneath which lies the Wolf, suckling the Infants, 
Romulus and Remus. The God representing the Nile, rests in sim- 
ilar attitude, upon his left arm, and holds a cornucopia, beneath 
which is stationed a Sphinx. Plinths of both are modelled with 
waves. Each group is mounted on a rectangular Louis XVI pedes- 
tal of rosso antico; mounted with a gadrooned border of ormolu, the 
base chased with a band of vine, foliage and grapes. (Robersons) 
(2) Total height, 18 inches; width, 18 inches 
Illustrated in the private catalogue of the Fetherstonhaugh heir- 
looms from Up Park, Petersfield, Hants. 


[SEE ILLUSTRATION ] 


ANTIQUE ITALIAN BRONZE STATUETTE 

Hercules carrying a wild boar. Very fine modelling. On wood plinth. 

(Robersons) Height, 18 inches 
[SEE ILLUSTRATION | 


7 


o4 


35 


o6 


BRONZE GROUP BY AUGUSTE RODIN FRENCH, 1840-1917 
“Eternal Springtime.” Signed to the right of the base. Purchased 
from Tiffany & Co., in 1909. Height, 26 inches; width, 33 iches 
A similar group in white marble by Rodin in the Isaac D. Fletcher 
Collection at the Metropolitan Museum of Art, New York City. 


GREEK MARBLE DISC OF HYGEIA 

A charming work of the Hellenistic period. The medallion, with 

simple beaded rim, shows the goddess in high relief—an idealized 

classic head, draped bust and hand holding the snakes of A%sculapius. 
Diameter, 834, inches 


CHARLES ANTOINE COYSEVOX 


FRENCH SCHOOL, 1640-1720 


MARBLE RELIEF OF THE DAUPHIN LOUIS 
This marble relief portrait of the Dauphin Louis, son of Wows XIV, 
who died-before his father and therefore never ascended the throne 
of France, is a piece not only of great artistic merit, but also of his- 
toric importance. Coysevox was the favorite sculptor of Louis XIV. 
In sources of the period a portrait of the Dauphin by his hand is 
mentioned—doubtless the present relief, which is signed ‘“A.C.F. 
1683’’— ‘“‘Antoine Coysevox Fecit 1683.” An inscription, ‘“Ludovi- 
cus Delphinus’’, identifies the marble as a portrait of the Dauphin. 
The relic is contained in a carved and gilt frame of the Régence 
period, decorated with fleurs-de-lys and the interlaced initials “L’’. 
Oval, 1614 x 1114 inches 


[SEE ILLUSTRATION ] 


8 


MARBLE RELIEF PORTRAIT OF THE DAUPHIN LOUIS 
SON OF LOUIS XIV 
BY CHARLES ANTOINE COYSEVOX, 1683 


[NUMBER 36] 


VENETIAN MASTER 


ITALY, 16TH CENTURY 


37 BRONZE AND MARBLE BUST OF ARISTOTLE 
The great Greek scholar is represented in bronze with flowing beard 
and locks, his head covered by a close-fitting cap, and set into a 
drapery of antique bréche marble. An impressive and characteristic 
piece, well known in literature. On an ebonized wooden pilaster. 
Height of pilaster, 36 inches; of bust, about 33 inches 


Discussed by Planisicz in “Venezianische Bildhauer der Renais- 
sance’”’; also by Bode in “The Collection F. von Gans” and by Falke 
in “The Bachstitz Collection”. 


[SEE ILLUSTRATION ] 


10 


wy i 


BRONZE AND MARBLE BUST OF ARISTOTLE 
VENETIAN, 16TH CENTURY 


[NUMBER 37] 


GIOVANNI DELLA ROBBIA | aa 


FLORENTINE SCHOOL, 1469-1529 
38 KNEELING ANGEL | peers 
Glazed terra-cotta figure of a kneeling angel. The body of fired clay ; 
is invested with an unctuous, stanniferous glaze, heightened with 
gold. The angel, sweetly smiling, with flowing locks and a robe in the 
manner of the late quattrocento, holds a square candlestick. (Slight 
repairs) : Height, 31 inches 


Formerly in the C. von Hollitscher Collection, Berlin. — Mentioned by 
Falke in ‘‘The Bachstitz Collection’. 


[SEE ILLUSTRATION | 
12 


TERRA-COTTA FIGURE 
BY GIOVANNI DELLA ROBBIA 
[NUMBER 38] 


PAIR OF BRONZE CENTAURS 
ITALY, 16TH CENTURY 
[NUMBER 39 | 


39 PAIR OF BRONZE CENTAURS © ITALY, 16TH CENTURY 


These figures, of unusually fine execution, are typical of the Renais- 
sance, with its breathing of new life into classical tradition. They 
are replicas of the antique centaurs by Aristeas and Papias from 
the villa of Hadrian, now in the Museo Capitolino, Rome. One, an 
old centaur of massive physique, has his hands bound behind him. 
The second, youthful and jubilant, holds one hand aloft and grasps 
in the other a club of thornwood. Both figures are mounted on 
bases of red marble ornamented on either end with the pipes of Pan 
in gilt-bronze. (2) 
Height, without base, of the old centaur, 1234, inches; depth, 9 inches; 

height of the young centaur, 141% inches; depth, 1014 wmches 
Described by Dr. Wilhelm Bode in his book “The Collection von 
Hollitscher’’, and by Falke in “The Bachstitz Collection”’. 

[SEE ILLUSTRATION ] 


14 


BRONZE GROUP: NESSUS THE CENTAUR AND DEIANIRA 
ITALY, ABOUT 1690 
[NUMBER 40] 


40 BRONZE GROUP ITALY, ABOUT 1690 
A classical subject treated with the charming romanticism of the 
late seventeenth century. Nessus, the centaur, in the act of carrying 
off the maiden Deianira, sinks dying, struck by the arrow of Hercules. 
Mounted on an ebonized wooden stand ornamented with a bronze 
lion’s mask. Height, excluding stand, 81% inches; width, 81% inches 


This piece was formerly in the Kaiser Friedrich Museum, Berlin, and 
is described by Dr. Wilhelm Bode in “The Collection von Hollitscher’’ 
and by Falke in “The Bachstitz Collection’’. 


[SEE ILLUSTRATION ] 


15 


41 MARBLE BUST OF A LADY, ON PEDESTAL 


42 EMPIRE PEDESTAL 


43 


ITALIAN, 17TH CENTURY 
Life size full bust of a lady of high rank with her hair curled at 
the sides of her head and tied with ribbon; a deep collar of fine lace 
over the shoulders and wearing also an octagonal pendant 7 of 
the Madonna and Child suspended from a necklace. Her corsage is 
ornamented with strings of pearls. Beautiful sculpture work show- 
ing strong Bernini influence. The pedestal formed as a tapering 
Renaissance column; the capital with a cartouche bearing a coat-of- — 
arms. (Robersons) | Total height, 7 feet 
From the Lord Huntley Collection. | 


Gilt bronze column. Corinthian capital finely decorated with Sévres 
blue enamel, and gilt. Revolving brown marble top. Stepped square 
base. (John L. Clawson) Height, 4- feet 2 inches 


RARE TAPESTRIES 


NUMBERS 43-47 


VERDURE TAPESTRY FRENCH, 17TH CENTURY 
Finely woven in shaded greens and yellows with a landscape, the 
foreground of which is filled with many richly foliated trees, en- 
circling a lake in which are ducks and water flowers, a chateau in 
the left distance; background of rolling hills. Border of Renais- 
sance flower and foliage scrolls in colors on a dark ground. 
(Robersons) Size, 7 feet 9 inches x 18 feet 


16 


WOOL AND SILK TAPESTRY, “‘THE PLAGUE OF THE FROGS” 
FLEMISH, 1550-1600 
[NUMBER 44] 


44 WOOL AND SILK TAPESTRY FLEMISH, 1550-1600 


“The Plague of the Frogs’, from the story of Moses. This interest- 
ing tapestry has two unusual qualities. The entire landscape back- 
ground and many of the details are executed in silk, while other tapes- 
tries of this period show considerably more wool, less silk. Secondly 
the tapestry must have been very little exposed to sunlight. While as 
a rule in sixteenth century tapestries delicate shades, such as pink, 
light blue and pale yellow, are almost unrecognizably faded, they 
are in perfect condition in the present tapestry. 

The cartoon has been made by one of the artists in the wake of 
Barent van Orley, mixing the classic style of the Italian Renaissance 
with the robust realism of sixteenth century Flanders. 


17 


A5 


The composition shows Pharaoh, the queen and courtiers sitting at 
table to the right, with retainers and servants attending. The table 
and the dishes of food covered with frogs, which are also seen to ! 
the left pouring down in a stream from the sky. The landscape 


background to the left, the draperies to the right lend the composi- — | 


tion an unusual note of color. Border of Renaissance acanthus in 
yellow on red, simulating an architectonic wall panel. (Alfred P. 
Dennis) Size, 14 feet 5 inches x 13 feet 4 inches 
Purchased from the Duke Cardinali Collection, Naples, Italy. 


[SEE ILLUSTRATION, PAGE 17] 


IMPORTANT GOBELINS TAPESTRY PANEL | : 
The story of Antony and Cleopatra: The meeting of Antony and 
Cleopatra in Cilicia. This important tapestry is practically entirely 
woven in silk. It has in the right lower corner the signature of 
Lefebure, with a fleur-de-lys and the letter “G”. H. L. Lefebure, 
fils, was “entrepreneur d’atelier” at the Gobelins from 1697 to 1736. 
The French government still possesses a series of tapestries woven at 
the Gobelins in the atelier of Audran depicting the story of Antony 
and Cleopatra in three compositions by the painter Charles Joseph 
Natoire (1700-1777), to whom also the cartoons for the present two 
tapestries must be ascribed. 
The two present tapestries are of remarkable quality, and were for- 
merly in the Collection of Lord Lovelace. The present tapestry was 
reproduced in color in ‘‘The Connoisseur”, December, 1920, when the 
design and origin of these masterpieces were established. 
The present tapestry, first of the set, shows a landscape background 
with perfect execution of the details. A massive group of trees in 
the centre, a classic building to the right, and Antony’s ship to the 
left. The centre of the composition is held by the graceful figure of 
the Egyptian queen, clad in a rose-colored garment with a pale blue 
mantle, held by two maidens who seem to comment upon the attitude 
of the two principals. Antony, approaching from the left, shows too 
openly the beginning of a passion that is to lead him to ruin. 
The border of the tapestry frames only right and left. It shows in 
the middle a cartouche with a mythological composition on pale blue 
ground. Above and below is a pilaster with golden molding and 
red field showing pale blue floating ribbons to which a quiver, a bow 
and a hanging lamp are attached. } 

Height, 7 feet 9 inches; length, 13 feet 9 inches 
This tapestry and the companion tapestry were exhibited at the 
Retrospective Loan Exhibition of European Tapestries held in the 
San Francisco Museum of Art, 1922. 

[SEE ILLUSTRATION ] 


18 


. PPE MLA LE  * Soe ANE AIH RE oy oe ae y es 
Peni PR HHT DEAD YO” PRT. THOT bd i RR at 


ereanqoesnee sceeoaeen 
REA BF 


IMPORTANT GOBELINS TAPESTRY 
THE STORY OF ANTONY AND CLEOPATRA 


[NUMBER 45] 


46 IMPORTANT GOBELINS TAPESTRY PANEL 
The story of Antony and Cleopatra: A tryst between Antony and 
Cleopatra. Companion piece to the preceding. This important tap- — 
estry has the same border to right and left as the preceding one. is 
The composition depicts a tryst of the two lovers. Antony, approach- — 
ing from the left, seemingly impatient to meet the beloved, is clad 
in a yellow tunic and red mantle. Cleopatra, in stately robes, seated — 
to the right, looks happily toward the approaching hero. A maiden 
stands in the background. The entire composition is held together 
by a boldly draped pale blue canopy. ee 
Height, 7 feet 10 inches; length, 11 feet , 


[SEE ILLUSTRATION | 


ee ee 


47 TWO FLEMISH SIXTEENTH CENTURY TAPESTRY PANELS 
Executed in fine, mellow colors, in wool with interwoven silk threads- 
Narrow border of delicate morning-glory vines in naturalistic inter- 
pretation on pink ground. The main panel with standing figure of 
Jupiter, holding shield and staff and wearing a short white tunic and 
flowing red cape, draped over one shoulder. Above and below, fine 
flower and fruit compositions—grapes, apples, and pears, harebells, 
iris and other flowers, all in naturalistic treatment and with deli- 
cately rendered detail. Harmony of red, blue, yellow and green on 
ivory-white. (2) Height, 7 feet 5 inches; width, 27 inches: 


20 


; 
| 
& 
: 
Hi 


IMPORTANT GOBELINS TAPESTRY 
THE STORY OF ANTONY. AND CLEOPATRA—THE TRYST 


[NUMBER 46] 


PAINTINGS 


NUMBERS 48-83 


FLORENTINE SCHOOL 


15TH CENTURY 


48 PROFILE PORTRAIT OF NERI DI GINO CAPPONI 
In a red velvet cloak with an emerald-green surplice. (Sion House) 
) Size, 23. x 2714 inches 
; Neri di Gino Capponi was:one of the most picturesque figures of 
Florentine political life during the reign of Cosmo de’Medici, and 
his most powerful opponent. He died in 1457. 


JAIME VERGOS AND JAUME HUGUET 


SPANISH SCHOOL, 1459-1503 AND 1448- (?) 


49 POLYPTYCH 

<1) The painting is divided into five panels; in the centre panel the 
) D suffering Christ; on either side of the Christ, the Virgin and St. 
John. In the two end panels St. Barbara holding the tower, and a 
female saint with dog. The figures are set against a rich back- 
ground of Spanish Gothic textile motifs in crimson and gold and 

green and gold. On panel. 
Height, 2 feet 3 inches; length, 6 feet 10 inches 


ENGLISH SCHOOL 


18TH CENTURY 


1S O's PAIR OF MARINE SUBJECTS 
Two canvases occupied by war vessels fully rigged on the high seas. 
In their original carved and gilded gesso frame. (Sion House) (2) 
Size, 21 x 2414 inches 


22 


CASISA 


ITALIAN, 18TH CENTURY 


51 STILL LIFE WITH A PEACOCK 


Delightful arrangement of fruit and flowers near a fountain with the - 


figure of a dryad, landscape with a ruin at the left. Canvas. Signed 
at the lower left. Height, 30 inches; width, 25 inches 


ITALIAN SCHOOL 


17TH CENTURY 


52 PAIR OF FLOWER SUBJECTS 


53 


54 


Nice arrangement of many blooms in vases with dark backgrounds. 
Ganvas: (2) — Height, 29 inches; width of each, 25 inches 


GERARD de LAIRESSE 


FLEMISH, 1641-1711 


LANDSCAPE WITH ARCHITECTURE AND FIGURES 

On the right the remains of a temple of Corinthian order with 
groups of youths in brightly colored classic garb. Background of 
blue-green hills. A lake with round towered castles. In black and 
gold frame of the period. (Sion House) Total size, 30 x 34 inches 


Gérard de Lairesse, called the Flenish Poussin, was celebrated for 
his perfect knowledge of architecture, depicted in the backgrounds 
of his paintings. 


SCHOOL OF WATTEAU 


FRENCH, 18TH CENTURY 


THE MINUET 

A mademoiselle and a young gallant are dancing in the foreground 
while a number of young demoiselles are grouped about on the green 
sward in animated postures; park background with a marble bust on 
a high pedestal at the left; glimpse of blue sky with cloud effect. 
Canvas. Height, 13 inches; width, 151% inches 


23 


37 


/ Ga. 


roe Fe 


GAINSBOROUGH DUPONT 
ENGLISH, 1767-1797 
55 THE MARKET CART 
A sketch by Thomas Cainsboroush “Std finish by Gainigbapeten 
() 64. Dupont. A wooded clearing through which passes a fully ‘laden 
market cart. The picture scintillates with the bright spots of the 
farmers’ costumes seated on the cart, and grouped near the lake, and 


under the shadow of the trees. Panel. (Sion House) 
a bi Size, 1514 x 13 inches 


we 


Gainsborough Dupont was the nephew of Thomas Gainsborough and 
one of his most successful disciples. It seems as if this panel had 
been painted as a preparatory sketch to the longi canvas oom ae 
borough himself. 


[SEE ILLUSTRATION ] 


24 


THE MARKET CART 
BY THOMAS GAINSBOROUGH AND GAINSBOROUGH DUPON 


[NUMBER 55] 


56 


oS 


57 


RICHARD WILSON, R.A. 


ENGLISH, 1714-1782 


LANDSCAPE AND RUINS 
A North country landscape, the centre background oconupied by a 
round towered ruined castle on a wooded bluff descending to a lake. 
The foreground with a stone portal of the castle’s underground pas- 
sage, with rustics brightly costumed grouped about. To the right 
and left richly foliated trees. A characteristic example by the 
Ruysdael of British landscape painters. (Sion House) — 

Size, 181%4 x 2514 inches 


[SEE ILLUSTRATION |] 


EDWARD CALT 


ENGLISH, 18TH CENTURY 


TWO MARINE PAINTINGS 

(a) BRITISH ADMIRALTY YACHT. Taking the admiral to a waiting 
cruiser. 

(b) A MAN-OF-WAR FULLY RIGGED. In the right and left foreground 
are seen small cruisers. Canvas. In their original carved and 
gesso frames. (Sion House) (2) Size, 1444 x 1714 inches 


26 


LANDSCAPE AND RUINS 
BY RICHARD WILSON, R.A. 


[NUMBER 56] 


FRANCIS COTES, R.A. 


ENGLISH, 1726-1770 


58 PORTRAIT OF YOUNG MISS BATES 


bes. 


Half-length portrait of a young woman dressed in a tight-fitting: 
riding habit of a soft blue and white brocaded fabric held by strings: 
of scarlet. In her right hand she holds a riding crop. Signed in 
a flourishing script in the upper right background, “‘Francis Cotes, 
fet. 17577... Canvas.” (Si0n-tlouse) Size, 30 x 25 wches: 


[SEE ILLUSTRATION ] 


28 


i. 
Mis, 


: PORTRAIT OF MISS BATES IN A RIDING HABIT 
BY FRANCIS COTES, R.A. 


| [NUMBER 58] 


LE 


SIR JOSHUA REYNOLDS, P.R.A. 


ENGLISH, 1723-1792 


59 CUPID 


ISL, 


Broadly painted figure of a winged Cupid with curling hair about 

to discharge his arrow. His arrow case hangs from a blue ribbon 

tied about his nude body. Landscape background. Re 

On mahogany panel. In carved wood frame. (Sion House) | 
Size, 1114 x 9 inches 


Finished sketch for the Burdett Coutts painting of Venus and Cupid. — 
Purchased from Arthur Tooth & Sons by Frederic Chapman. 


4 


[SEE ILLUSTRATION | 
30 


CUPID: FINISHED SKETCH FOR THE BURDETT COUTTS 
PAINTING OF VENUS AND CUPID 
BY SIR JOSHUA REYNOLDS, P.R.A. 


[NUMBER 59] 


AL BY gore, 


GEORGE VAN DER HAGEN % 


DUTCH, 1615—AFTER 1671 


LANDSCAPE WITH FIGURES 

Park expanse with fine tree growths, cavaliers in colorful costumes 
on the road in the middle ground, a pool of water at the left fore- 
ground, searching characterization of a tree trunk in the right 
foreground, simple sky. Canvas. H eight, 58 inches; width, 76 inches 


Expertized by Dr. Wilhelm von Bode. 
Oscar Huldschinsky Collection. 


JACOB DE WIT 


DUTCH, 1695-1754 


TWO GRISAILLE OVERDOORS 

(a) ASTRONOMY. Composed of four allegorical genii with their em- 
blems, a globe, compass and lyre. 

(b) Music. Composed of the figure of Apollo playing the lyre and 
a recumbent female holding tibiz while two others are listening. 
In moulded and gilded baguettes. (Sion House) (2) 

Size, 2814 x 6014 inches, and 2734, x 6214 inches 


Jacob de Wit is celebrated for his paintings in vmitation of bas relief, 
of which there are fine examples in the Dresden Gallery and Rotter- 
dam Museum. 


JACQUES LOUIS DAVID 


FRENCH, 1748-1825 


PORTRAIT OF MME. LEBLANC DE LA VALLIERE 
Three-quarter length, shoulders to the left, head turned toward the 
spectator, in white lawn bodice with wide fluted collar, black corselet 
with red laces, tea-colored satin skirt, rich brown braided hair, her 
hands crossed, holding a letter in the right; half-length sleeves edged 
with lace; neutral dark background. Canvas: 

Height, 37 inches; width, 28 inches 


2 


MONUMENTS OF ROME 
BY CAVALIERE GIOVANNI PAOLO PANNINI 


[NUMBER 63] 


CAVALIERE GIOVANNI PAOLO PANNINI 


ITALIAN, 1691-1764 


68 MONUMENTS OF ROME 

View of Rome. Foreground occupied by colonnades, the left by a 

temple. In the background a seventeenth century palace. On the 

steps of the colonnades and in the street are groups of soldiers, 

monks, and townspeople, and one sees the engaging picture of a 

coach drawn by two horses with its attendants in the costume of 

the period. Elaborate contemporary gesso frame. (Sion House) 
Size, 4214 x 55 inches 

[SEE ILLUSTRATION ] 


3 


0. 


FRANCOIS XAVIER WINTERHALTER 


FRENCH, 1806-1873 


64 PORTRAIT OF A LADY 
Half-length, seated, shoulder toward the left, head direcieat +46 the 
oe? : spectator; in low-cut white lawn dress, her hands folded, wearing 
lp pearl eardrops and a gold ornament on a black velvet band about her 
neck, her dark brown curly hair combed back from the forehead; 
gray background. Canvas. Height, 34 inches; width, 27 Vy inches 


a 


Francois Xavier Winterhalter was Court painter to the Court of : 
Napoleon III and Queen Victoria of England. 
From the Collection of Dr. de Frey. 


[SEE ILLUSTRATION ] 
34 


PORTRAIT OF A LADY 
BY FRANCOIS XAVIER WINTERHALTER 


[NUMBER 64] 


THOMAS GAINSBOROUGH, R.A. 


ENGLISH, 1727-1788 


65 GAINSBOROUGH’S SKETCH BOOK, CONTAINING THREE HUN- — 


DRED AND TWENTY-NINE PENCIL, INDIA-INK AND SEPIA 
DRAWINGS BY THE MASTER | 
Including preparatory sketches for the following paintings: 


PORTRAIT OF MRS. HENRY FANE 


(E. Raphael, Esq. 1772) Page 158 — 


“COUNTESS OF SUSSEX AND LADY BARBARA YELVERTON” 


Large drawing of Lady Barbara Yelverton without bonnet, and a — 


smaller beneath with bonnet as appearing in the portrait. Page 150 


LADY SHEFFIELD 
(Baron de Rothschild Collection) Page 151 


MRS. JOHN DOUGLAS (1786) Page 153 


HONORABLE MRS. GRAHAM 
(National Gallery of Scotland) Pages 218-224 


MRS. ROBINSON 
(Wallace Collection) Page 205 


MRS. SIDDONS 
(National Gallery) 
Two drawings. Page 164 


DUCHESS OF DEVONSHIRE Page 151 


THE PINK BOY 
(Baron de Rothschild Collection) 
Drawn with his feathered hat on the ground. Page 299 


DIANA SURPRISED BY ACTZON 
(Windsor Palace) Pages 193-198 


BOYS AND DOGS 
(Lord Iveagh Collection) 
Sketches of fighting dogs. Pages 312-315 


he 


A 


Seg 


cas 


en 


pestered! = elas: 


re ae 


SO EESORT 


EM, 


Pee aR 


a ae 


Nancie 


SEAS Fen Sas. 
Re ae 


F FULL-PAGE DRAWINGS 


[NUMBER 65] 


SMALL REPRODUCTIONS 0 


An account book of hand-made paper bound in dark green calf and 
filled with portrait sketches, allegories, nudes, animal studies, land- 
scapes, preparations for ceilings and wall panels, vignettes for illus- 
trations of which many are finished drawings, others quick render- 
ings of fleeting impressions of faces and bodies of women who 
enchanted the artist, children who charmed him, the Rinse 
most impressed by physical grace. 

To appreciate the romantic attraction of this book, one Pec aut ; 
finger these pages and find constant surprises. In close companion-— 
ship with the sketches for the celebrated canvases whose names 
have become legendary, one finds enchanting compositions for pic- 
tures which apparently never reached their canvases, like that be- 
witching group of “Children at Play” (illustrated), and a vast and 
varied number of brilliant interpretations which were whimsically 
titled by Gainsborough in his own hand, such as on page 20, “There 
I Seek the Weeping Muse in Vain’, or on page 22, a fine India-ink 
drawing entitled “The Lamented Mary, Queen of Scotts”; while on 
page 166 we find an illustration of this rhyme by Cooper, 


“Her swelling breast new tremors move, 
And all her melting soul was love.” 


On page 104 are drawn a few graceful heads of amorini over an 
account of purchases also written in the artist’s hand. 

Purchased by the last owner from direct descendants of Thomas 
Gainsborough. (Warwick House) 


[SEE ILLUSTRATION, PAGE 37] 


38 


A. 


VENUS AND MERMAIDS—FROM A MOORISH BATH 
BY GIULIO ROMANO 


[NUMBER 66] 


GIULIO ROMANO (PIPPI) 


ITALIAN, 1492-1546 


66 VENUS AND MERMAIDS 

From a Moorish bath. Resembling markedly the cartoon by Giulio 
Romano presented to the King of France by Richard Cosway, the 
miniaturist (at present at the Louvre). 
“The Infidel Florentines’”’ sent their wares to the African coast 
during the Renaissance period. One can find many a fine faience 
jar in the Gardens of Morocco and Algiers. (Sion House) 

Size, 6 feet 6 inches x 2 feet 2 inches 


This canvas was purchased by Frederic Chapman at R’abat. 
[SEE ILLUSTRATION | 
39 


a SIR THOMAS LAWRENCE, P.R.A. 


PORTRAIT OF A YOUNG LADY 
BY SIR THOMAS LAWRENCE, P.R.A. 


[NUMBER 67] 


ENGLISH, 1769-1830 


67 PORTRAIT OF A YOUNG LADY 


Bust to the front, pale auburn hair, vivacious expression, attired in 
plain white bodice with frilled edge, a pink drapery thrown over her 
right shoulder; sky background, feigned oval. Canvas. 


Height, 20 inches; width, 27 wmches 
[SEE ILLUSTRATION | 


AQ ‘i 


PORTRAIT OF A GENTLEMAN 
SCHOOL OF VELASQUEZ, SPAIN, 17TH CENTURY 


[NUMBER 68] 


SCHOOL OF VELASQUEZ 


SPANISH, 17TH CENTURY 


ASO 
68 PORTRAIT OF A GENTLEMAN , 


Half-length, seated, head and shoulders to the front, in black doublet 
with white collar and cuffs, holding a buff-colored handkerchief ; 
dark background. Canvas. 

Height, 32 inches; width, 27 inches (rounded top) 


[SEE ILLUSTRATION | 
41 


0 


CORNELIUS TROOST 


DUTCH, 1697-1750 


69 BEFORE THE SYNDIC 


At a table covered with green silk cloth is seated a young adr in 


a brocaded velvet cloak, wearing a red turban and folding the leaves 
of an open book. Before him appears a young couple, the man — 


dressed in gold-braided court costume. He holds a silver-headed 
cane in his right hand; the young woman is in a voluminous, brilliant 
canary-yellow, purple-lined robe and wearing a white cap. Back- 


ground of an interior. Law books on the shelves of a bookcase. On — 


the wall is a gilt bracket with a Delft jar and on the left an elabo- — 
rately carved console table. Green draperies conceal the open 
window. 
Canvas. Gilded gesso frame of the period. (Sion House) 

Size, 28 x 3514 inches 


Cornelius Troost, called the Dutch Watteau, united the excellence 
of draughtmanship and the richness in coloring of Vermeer ae 
the French grace of composition. 


[SEE ILLUSTRATION ] 
42 


BEFORE THE SYNDIC 
BY CORNELIUS TROOST © 


[NUMBER 69 | 


" 5 O. (b) Mrs. Garrick. In a tight fitting beige-colored bodice ending ~ 


WILLIAM HOGARTH 


ENGLISH, 1697-1764 


70 PORTRAITS OF DAVID GARRICK AND HIS WIFE, EVA MARIA 
(a) DAVID GARRICK. Standing full length and dressed in a long flar-— 
ing gray jacket. Background of his famous villa at Hampton andy 
forest beyond. S 


Tyr, 


in a voluminous skirt. She wears a lace-trimmed linen cap, linen 
ruffles and apron. Background of garden at Hampton. | 
Canvases. (Sion House) Size, 20 x 14 inches © 


Mrs. Garrick was married to the celebrated actor in 1749. She was 
Eva Maria Veigal, a Viennese, known as Mlle. Violette, a popular 
dancer. Garrick called her the best of women and wives. 


[SEE ILLUSTRATION] 


44 


i 


PORTRAITS OF DAVID GARRICK AND HIS WIFE EVA MARIA 
BY WILLIAM HOGARTH 


[NUMBER 70] 


Sire 


50. 


JEAN FRANCOIS MILLET 


FRENCH, 1814-1875 


(a) THE HAYBINDERS. 

(6) WOMAN CARRYING A JUG 

The technique of these pictures has a rugged, almost aedeonce 
quality and a daring and prophetic assertion of color, which gives 
them an unusual decorative importance. One can feel the influence 
of Ingres. Though not as bold in strokes as the Millets we know, 
these early examples have an irresistible appeal. (Sion House) (2) 

3 Size, 24 x 20 inches 


These two paintings of the Barbizon School were purchased by 


Frederic Chapman in the 80’s and were always held as early 
examples of the master of Barbizon. 


SIR JOSHUA REYNOLDS, P.R.A. 


ENGLISH, 1723-1792 


72 SELF-PORTRAIT OF THE MASTER 


93 0: 


Bust portrait of a young artist dressed in crimson with a scarlet 
cloak. He wears a white stock and an artist’s velvet hat on his pale 
blond hair. Background of verdure and clouds. 

Painted about 1753 for Horace Walpole. This portrait has lost 


none of its brilliance of pigment. 
Canvas. In an elaborately carved wood frame. (Sion House) 
Size,.20 & 2b menes 


Purchased from Arthur Tooth & Sons by Frederic Chapman about 
1885. 
[SEE ILLUSTRATION ] 
46 


ER 


PORTRAIT OF THE MAST 


SELF 
BY SIR JOSHUA R 


A 


P.R 


I 


EY NOLDS 


[NUMBER 72] 


FRANCOIS CLOUET | 


FRENCH, 1500-1572 


Al 73 PORTRAIT OF A PATRICIAN LADY 
Bust, head and shoulders slightly to the left, eyes directed toward 
the spectator, wearing rich pearl and jeweled ornament in the hair, 
close-fitting lace fluted collar, black brocaded bodice with gilt em- 
broidery, cream-colored satin sleeves; dark background. In charm- 
ing frame with inlaid colored marble and columns. Panel. 
Height, 71% inches; width, 534, inches 


[SEE ILLUSTRATION] 


48 


PORTRAIT OF A PATRICIAN LADY 
BY FRANCOIS CLOUET 


[NUMBER 73] 


ro tee [SEE ILLUSTRATION] : nee 
a ae 50 


THE BALLETEUSE (DANCER) 
BY EDGAR DEGAS 


[NUMBER 74] 


SIR THOMAS LAWRENCE, R.A. 


ENGLISH, 1769-1830 


75 PORTRAIT OF A DIPLOMAT 
Nearly half-length, head and shoulders slightly to the left, eyes di- 
rected toward the spectator, seated on a crimson velour, high-backed 
chair, attired in black garments with gilt buttons, touch of white 
u 5 60. line and black cravat; complementary background. Canvas. 
Height, 30 inches; width, 25 inches 


Asher Wertheimer Collection, London. 
F. von Gans Collection. 


[SEE ILLUSTRATION] 
52 


PORTRAIT OF A DIPLOMAT 
BY SIR THOMAS LAWRENCE, R.A. 


[NUMBER 75] 


bree 


716 


ADRIAEN ISENBRANDT 


FLEMISH, BEFORE 1510-1541 


TWO WINGS OF AN ALTARPIECE | 
On the left wing the bearded St. Jerome is seen standing on a 
pedestal, the lion crouching at his feet; attired in a deep crimson 
robe with wide cream-colored collar and borders, the Saint is writing 
on a book held with his left hand while a scribe’s inkhorn is sus- 
pended from a black silken cord. 
On the right wing St. John is standing on a pedestal holding the 
lamb; he is clothed in a warm brown tunic tied at the waist with an 
ivory-tinted girdle, and a mantle of deep red thro over Lae left 
shoulder. Panel. 

Height of each, 313/ inches; width e each, 934, inches 


Dr. Friedlaender states, “the wings helped me very much in deepen- 
ing my understanding of the delicate and graceful personality of 
this master, when they were shown me in 1902.” 

Georges Hulin van Loo ranks them among the ripest pees of the 
master. | 


Collections: C. & G. de Somzee, Brussels, 
Th. Agnew & Sons, London, 
F. von Gans, Frankfort, 
K. W. Bachstitz, The Hague. 


Exhibited: Bruges 1902, Exposition des Primitifs Flamands, 


No. 93. ghey 


Literature: Dr. M. J. Friedlaender, ae 
D. W. von Bode, 
Dr. G. Gronau. 


Also described in E. von Bodenhausen’s “Gerard David and his 
School’, 1905. 

In “Cicerone’’, October 20th, 1922; and Bulletin of the Bachstitz 
Gallery, The Hague. 


[SEE ILLUSTRATION | 
54 


a a Ss ee 


Photogravure Bruckmane 


TWO WINGS OF AN ALTARPIECE 


ISENBRANDT 


[NUMBER 76] 


BY ADRIAEN 


S 0. 


APPROACH TO VENICE 
BY J. M. W. TURNER, R.A. 


[NUMBER 77] 


J. M. W. TURNER, R.A 


ENGLISH, 1775-1857 


77 APPROACH TO VENICE 


The outline of Santa Maria delle Grazie and San Georgio through 


the mist of the approaching evening. A bridge of rustic architecture 
and boats filled with turbaned gondoliers. In the lagoon and on 
shore, peasant women with high laced bonnets. Painted about 1843. 


(Sion House) 


Size, 18 x 2534 inches 


Bought from Arthur Tooth & Sons by Frederic Chapman. 


[SEE ILLUSTRATION | 
56 


JOSEPH HIGHMORE 


ENGLISH, 1697-1780 


78 PORTRAIT 
Seated figure of a lady dressed in brown, wearing lace cap, fichu, 


and ruffles. (Sion House) mize, Lorxal2anches 


Joseph Highmore is celebrated as a painter of The Banquetting Hall 
at Whitehall. His portraits of Samuel Richardson and Dr. Stebbing 
are in the National Portrait Gallery, London. 


DL 


oN erie em pet nce: 


% 


| TWO STATIONS FROM A POLYPTYCH 
a BY A VENETIAN MASTER OF THE 15TH CENTURY 


[NUMBER 79] 


‘= VENETIAN SCHOOL 


| 15TH CENTURY f 
Oo. 
| 79 TWO PAINTINGS ON PANELS | 

| Two stations from a polyptych. Each composed of five upstanding 
figures, some in brilliantly colored cloaks, on a floor of brightly 
colored tiling. (Sion House). (2) Size, 5144 x 434 inches 


[SEE ILLUSTRATION ] 


: 57 


ENGLISH SCHOOL 


EARLY 19TH CENTURY 


80 A ROYAL GARDEN FETE 
| 0 ‘ Painting on canvas. In. semi-circular frame with convex glass. 
(Sion House) Size, 1714 x 21 inches 


GEORGE MORLAND 


ENGLISH, 1763-1804 


ae 81 THE FARMER AND THE FARMER’S WIFE 
Two original color drawings. (Sion House) (2) 
Size, 2334, x 19 inches 


SPANISH SCHOOL 


17TH CENTURY 


6 82 THE HOLY WOMEN, THE INFANT LORD, AND SAINT JOHN 
% : (Sion House) Size, 834, x 10 inches 


83 THE CITY MERCHANT 
A canvas of the Regency period. Interesting for its entertaining 
details of interior and costumes. (Sion House) Size, 28 x 39 inches 


58 


SALE 


84 


85 


86 


87 


88 


89 


90 


SATURDAY AFTERNOON, DECEMBER SIXTH, AT 2:30 


SECOND SESSION 


NUMBERS 84-253 


OLD ENGLISH FURNITURE 


NUMBERS 84-124 


CHIPPENDALE NEEDLEWORK AND MAHOGANY STOOL 
ENGLISH, ABOUT 1770 
Rectaugular, with fluted square legs. The top covered in eighteenth 


century needlepoint with design in colors. (Robersons) 
Height, 17 inches; width, 22 inches 


WINDSOR SPLAT AND SPINDLE BACK ARMCHAIR 

ENGLISH, 18TH CENTURY 
The back with) Ricco Gothic splat; shaped arms and armrests. 
(Sion House) 


WINDSOR SPLAT AND SPINDLE BACK ELM TREE ARMCHAIR 

ENGLISH, 18TH CENTURY 
The back with a pierced splat enriched with a carved vase motif. 
Shaped arms and armrests. (Sion House) 


JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY 
On four graceful vase-shaped and turned baluster supports; straight 
underframing. The front fitted with one drawer. Moulded top. 
(Sion House) Height, 27 inches; size of top, 28 x 1914 inches 


SHERATON WINDOW SEAT ENGLISH, 18TH CENTURY 
Covered in old eighteenth century maroon-colored printed linen. 
(Sion House) Length, 4 feet 7 inches 


JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY 
On four columnar baluster supports with straight rails. The front 
fitted with one moulded drawer with the original drop handles. 
(Sion House) Height, 2714, inches; top, 30 14, x 2234 inches 


ADAM STUCCO MANTELPIECE ENGLISH, EARLY 19TH CENTURY 
The centre key panel with a group of Venus and cupids in high 
relief. (Sion House) Height, 4 feet 7 inches; width, 5 feet 10 inches — 


59 


ENGLISH JACOBEAN 
SPINDLE-LEG OAK TABLE 


[NUMBER 91] 


91 JACOBEAN SMALL SPINDLE-LEG OAK TABLE 


92 


ENGLISH, 17TH CENTURY 
A very interesting example for its delicacy of construction and origi- 
nality of design. It is an occasional table standing on four turned 
tapering supports, ringed at the top and connected by uncommonly 
shaped transverse splats as underframing. Moulded top. (Szon 
House) Height, 24 inches; top, 15 inches square 


[SEE ILLUSTRATION |] 


ADAM “LAC” GUERIDON ENGLISH, 18TH CENTURY 
A cabinet fitted with one tambour slide and a drawer beneath with 
engraved bronze knob. Standing on four tapered spade-foot legs. 
Decorated in black and gold with stripe and honeysuckle patterns. 
Drawer restored. (Sion House) 

Height, 301% inches; width, 20 inches 


60 


93 


94 


95 


96 


97 


98 


99 


100 


CHIPPENDALE HIGH BACK ELM TREE ARMCHAIR 

ENGLISH, 18TH CENTURY 
A very uncommon Pade with pierced vase-shaped splats. Moulded 
top rail enriched with tracery. Moulded voluted arms and shaped 
armrests, the frame embellished with pierced spandrel ornaments. 
Slip seat. (Sion House) Height, 3 feet 514 inches 


OAK GATELEG TABLE ENGLISH, 17TH CENTURY 
On columnar turned supports with moulded capitals and bases. 
Drawer at one end. (Sion House) 

Height, 3934, inches; top, 35 x 31 inches 


-QUEEN ANNE WALNUT DRESSING TABLE 


ENGLISH, EARLY 18TH CENTURY 
Shaped moulded and arched frame containing bevelled Vauxhall 
plate, on a trestle stand. Height, 3834, inches; width, 331% inches 


CARVED OAK DOOR ENGLISH, 17TH CENTURY 
Recess panelled with boldly carved mouldings enriched with repeat- 
ing patterns of Tudor roses. The centre of the upper section, framed 
in a circular medallion, with a boldly protruding lion’s head mask. 
The lower section in a square reserve, a rosette of acanthus. (Sion 
House) . 

Height, 6 feet 344 inches; width, 2 feet 


ADAM MAHOGANY BOW-FRONT CHEST OF DRAWERS 
ENGLISH, 18TH CENTURY 
Gracefully bowed front fitted with three long and two _ short 
drawers. Arched base. In fine figured woods. Rosetted drop 
handles. (Sion House) Height, 411% inches; width, 41 inches 


JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY 
On very uncommon vase-shaped and turned baluster supports. 
Moulded arch frieze, a drawer in the front. Moulded top. (Sion 
House) Height, 27 inches; top, 283 x 5214 inches 


JACOBEAN OAK SHIP’S CHEST ENGLISH, 17TH CENTURY 

On two trestles cut ‘“V” shaped at the base. The front enriched with 

arched tracery; the edges with husk carving. (Sion House) 
Height, 25 inches; length, 381% inches; depth, 1334, inches 


QUEEN ANNE FRUITWOOD DRESSING TABLE 

ENGLISH, EARLY 18TH CENTURY 
The front fitted with one long and two short drawers with their 
original drop handles. Ogee moulded top. On moulded support. 
(Sion House) Height, 30 inches; top, 58 x 1814 inches 


61 


101 


102 


103 


104 


105 


106 


107 


STUART OAK SIDE TABLE : _ ENGLISH, 17TH CENTURY 
On vase-shaped baluster supports connected by straight rails. Jig- 
saw cut apron; the front fitted with a drawer furnished with unusual 
contemporary chased escutcheon handles. (Sion House) | 
Height, 2334, inches; top, 3314 x 21 inches 


TWO GOTHIC WINDSOR ELM TREE ARMCHAIRS 

ENGLISH, 18TH CENTURY 
Backs enriched with a design of interlaced pointed arches. (Sion 
House) (2) 


TWO GOTHIC WINDSOR ELM TREE ARMCHAIRS 
ENGLISH, 18TH CENTURY 
Similar to the preceding. (Sion House) (2) 


GOTHIC WINDSOR ELM TREE ARMCHAIR 
ENGLISH, 18TH CENTURY 
Similar design to the preceding. (Sion House) 


JACOBEAN OAK CHEST OF DRAWERS ENGLISH, 17TH CENTURY 
The front fitted with three long and two short drawers with fretted 
drop handles of the Queen Anne period. The stiles bear uncommon 
beading in relief. Moulded top. Recess panelled returns. Shaped 
bracket base. (Sion House) Height, 37 inches; width, 37 inches 


QUEEN ANNE WALNUT CHEST OF DRAWERS 
ENGLISH, EARLY 18TH CENTURY 
Fitted with three drawers with escutcheon and drop handles. The 
stiles are enriched with protruding beads. Recess panelled returns. 
Moulded top. Turned ball feet. (Sion House) 
Height, 32 inches; width, 33 inches 


JACOBEAN OAK TABLE ENGLISH, 17TH CENTURY 
On four vase-shaped turned balusters connected by uncommonly 
shaped underframing. Arched apron fitted with three drawers. 
(Sion House) Height, 2734 inches; size of top, 291% x 2114 inches 


62 


108 


109 


110 


Lit 


112 


113 


LONG CASE CLOCK ENGLISH, 18TH CENTURY 
Movement by William Smith, Great Bardfield. Steel dial with gilded 


bronze spandrels. The pine case painted to simulate tortoise shell. 


Moulded cornice and base. (Sion House) 
Height, 5 feet 3% inches; width, 1514 inches 


LOUIS XVI ORMOLU-MOUNTED SHOW TABLE 

Shaped table with rising glass top. Interior lined with crimson 
velvet. Two shelves below. Round tapered legs. Snakewood inlaid 
with ebony lines and mounted with ormolu borders and rosettes. 
(Robersons) Height, 35 inches; width, 41 inches 


ANTIQUE CARVED OAK SMALL CHEST 
Front and side panels with elaborate carving of Renaissance orna- 
ment. With lift-up cushioned top of Oriental weave forming a seat. 
Interior lined with crimson velvet. (Robersons) 

Size, 34 mches x 19 inches 


TWO-FOLD “COMPOSITE” SCREEN 

ENGLISH, EARLY 19TH CENTURY 
Each fold vered with a multitude of rare Cruikshank and Row- 
landson colored engravings on an old figured paper ground. These 
highly decorative “‘scrap screens” have become exceptionally rare. 
(Sion House) . Size per panel, 5 feet 8 inches x 8 feet 


PAIR OF CARVED AND GILT RENAISSANCE STYLE PEDE- 
STALS WITH MARBLE TOPS 
Shaped tops inset with marble slab, supported on four scrolled and 
acanthus decorated legs which stand on oval bases. Ornamentation 
of husk festoons. (Robersons) (2) 

Height, 30 inches; width, 16 inches 


EARLY GEORGIAN BURL WALNUT OVERMANTEL 

ENGLISH, EARLY 18TH CENTURY 
Composed of burl walnut frame with oblong mirror plate. Above 
an Italian view with Roman arch and amphitheatre in the fore- 
ground, a silhouette of a town in the background with townspeople 
grouped about. (Sion House) Size, 8114 x 38 inches 


63 


114 


115 


LG 


Vaibyy 


118 


CROMWELLIAN WRITING DESK ENGLISH, 17TH CENTURY 
Of simple sturdy proportions on the original moulded base. The 
front fitted with three drawers with their original drop handles. 
Hinged desk front concealing compartments and small drawers with 
a panelled centre door. (Sion House) 

Height, 3 feet 414, inches; width, 2 feet 11% renee 


JACOBEAN OAK GATELEG TABLE ENGLISH, 17TH CENTURY 

On eight vase-shaped baluster supports. Moulded apron, a drawer 

at one end. With the original top. (Sion House) 

Height, 2 feet 314 inches; top, extended, 4 feet 6 inches x 3 feet 
10 inches 


QUEEN ANNE WALNUT CHEST OF DRAWERS 
ENGLISH, EARLY 18TH CENTURY 
Fitted with three long and two short drawers, veneered in light burl 
walnut, while the body is covered with a similar veneer of a darker 
tone. Moulded top. Oval escutcheons and drop pinchbeck handles 
chased with fruit cornucopia. Bracket supports. (Sion House) 
Height, 37 inches; width, 37 inches 


CHIPPENDALE MAHOGANY CHEST OF DRAWERS > 
ENGLISH, 18TH CENTURY 
Small body fitted with four drawers with exceptionally fine escut- 
cheon drop handles in the Chinese taste, the back plate designed as 
a pagoda resting on trellis brackets supporting flower cornucopie. 
Moulded top. Bracket support. (Sion House) 
Height, 311% inches; width, 34 inches 


JACOBEAN OAK TRAVELLING HIGH CHEST OF DRAWERS 
ENGLISH, 17TH CENTURY 
Made in two sections. The whole is fitted with three long and two 
short drawers furnished with fretted escutcheon handles of a later 
addition. Beaded stiles. Panelled returns. Moulded top. The con- 
struction of this piece is especially interesting from the point of view 
of cabinet makers’ skill; the division has been made to facilitate the 
transfer from one house to another. (Sion House) 
Height, 391% inches; width, 37 inches 


64 


119 


120 


121 


122 


123 


124 


LONG CASE CLOCK OF THE STUART PERIOD 

; ENGLISH, 17TH CENTURY 
Slender body on moulded pedestal base. The hood with moulded 
cornice and flanked by two Doric columns. Moulded door with 
original strop hinges. Bronze dial with elaborate spandrels, signed, 
Thomas Moore, Medford. It is uncertain whether Thomas Moore of 
Medford is identical with the clock maker of this name of Ipswich, 
who is quoted in Britten’s book, “Old Clocks and Watches’, page 
440. (Sion House) Height, 6 feet 7 inches 


TWO CHIPPEN DALE CARVED MAHOGANY CHAIRS 

é ENGLISH, 18TH CENTURY 
Finely carved and delicately pierced ribbon backs, carved cabriole 
supports with serpentined underframing. (Sion House) (2) 


MAHOGANY BOW FRONT CHEST OF DRAWERS 
| ENGLISH, 18TH CENTURY 
Veneered with richly figured picked wood. The front fitted with 
three long and two short drawers and furnished with rosetted ring 
handles of a later addition. (Sion House) 
Height, 3 feet 434 inches; width, 3 feet 434, inches 


WALNUT ARMCHAIR FRENCH, FIRST HALF OF 17TH CENTURY 
Louis XIII period. Upholstered with gorgeous crimson velvet of the 
period fastened with ormolu studs. The rectangular back sur- 
mounted by elaborately scrolled openwork finial, showing two 
dragons holding an escutcheon. The sides of the back with Herme 
of fauns’ heads. The armrests curved and voluted with acanthus-leaf 
carving, supported by turned columns. Legs and stretchers with 
elaborate twisted turning. (Slight repairs) 


TWO HEPPLEWHITE MAHOGANY SIDE CHAIRS 

ENGLISH, 18TH CENTURY 
Graceful models designed in the French taste with shell-crested and 
shaped shield backs. Carved cabriole supports with arched rails. 
(Sion House) (2) 


CHIPPENDALE MAHOGANY AND NEEDLEWORK FIRESCREEN 

ENGLISH, ABOUT 1760 

Mounted with a rectangular panel of fine early eighteenth century 

needlework designed with a bouquet of flowers contained in a scrolled 

cartouche in petit and gros point. The adjustable sliding panel be- 
tween two fluted posts with spreading supports. (Robersons) 

Height, 44 inches; width, 28 inches 


65 


125 


126 


127 


128 


129 


IVORY CARVINGS 
NUMBERS 125-133 


CARVED IVORY STATUETTE OF CARDINAL RICHELIEU 
FRENCH, 18TH CENTURY 
Standing figure, forming a closed triptych. Interior representing 
the Madonna and Child enthroned. Very fine. (John L. Clawson) 
Height, 6 inches 
From the Collection of the Countess de Seilhac. 
From the George A. Hearn Collection. 


CARVED IVORY STATUETTE OF THE MARQUISE DE 
POMPADOUR FRENCH, 18TH CENTURY 
Standing figure, holding bouquet of flowers in the left hand, a fan 
in the right. The costume beautifully carved in imitation of floral 
brocade and embroidery. Inscribed on the base. Very fine. (John 
L. Clawson) Height, 18 inches 
From the Collection of the Countess de Seilhac. 

From the George A. Hearn Collection. 


ANTIQUE CARVED IVORY TRIPTYCH 

“Marriage of Henry IV and Marie de’ Medici.” Delicate relief carv- 
ing, partly colored and gilt. Mounted in a mahogany case. (John 
L. Clawson) Size, Tl x 6 inches 
From the George A. Hearn Collection. 


ANTIQUE CARVED IVORY TRIPTYCH 

“Arrival of Marie de’ Medici at Marseilles.” Having just disem- 

barked from a beflagged galley, she is being welcomed by the Genius 

of France, and numerous others. A herald angel floats above, tritons 

in the foreground. Mounted in mahogany case. (John L. Clawson) 
Size, 1114 x 11 inches 

From the George A. Hearn Collection. 

This is a copy of the large composition by Rubens in the Louvre. 


ANTIQUE CARVED IVORY TRIPTYCH 

“Massacre of St. Bartholomew.” The Queen attended by her ladies 
is standing upon the steps of a castle, gazing upon the slain bodies 
of the martyrs strewn around. Mounted in a mahogany case. 
(John L. Clawson) Size, 11 x 1014 inches 
From the George A. Hearn Collection. 


66 


130 


131 


132 


133 


134 


PAIR OF ANTIQUE CARVED IVORY RELIEF PLAQUES © 
“Oliver Cromwell.” A pair of finely carved plaques depicting Oliver 
Cromwell riding through the streets of a town, and a Roundhead 
encampment. Mounted in a mahogany case. (John L. Clawson) 
(2) Size of each, 334, x 514, inches 
From the George A. Hearn Collection. 


ANTIQUE CARVED IVORY PLAQUE 
“Cardinal Wolsey at Leicester Abbey.” The Cardinal is seen ap- 
proaching the abbot, leaning upon the shoulder of a youth. Mounted 
in mahogany case. Very fine. (John L. Clawson) 

Size, 7144 x 1114, inches 
“An old man broken with the storms of State is come to lay his 
weary bones among ye; Give him a little earth for charity.” 

King Henry VIII. Act Iv: Scene 2. 

From the Collection of the Countess Santagnesse. 
From the George A. Hearn Collection. 


CARVED IVORY STATUETTE OF MADAME POMPADOUR 
Beautifully carved standing figure, holding fan and rose blossoms. 
The lower part opens, disclosing triptych, finely carved with Court 
scenes of the period. (John L. Clawson) Height, 1814 inches 
From the Collection of Prince Strossi, Florence. 

From the George A. Hearn Collection. 


ANTIQUE CARVED IVORY TRIPTYCH 

“Battle of Pavia, 1525.” Fine relief carving showing the mounted 
figure of Francis I engaged in battle. Mounted in mahogany case. 
(John L. Clawson) Size, 10 x 814 inches 
From the George A. Hearn Collection. 


RARE PERSONAL RELICS OF GEORGE WASHINGTON 


NUMBERS 134-139 


WASHINGTON’S CHINA GLUE POT 
French China glue pot, decorated with flowers. (Cracked in several 
places, and one handle missing) (John L. Clawson) 

Height, 3% inches 
With an affidavit by Madison Rush Calvert stating that the piece was 
presented by Eleanor Parke Custis, Washington's adopted daughter, 
to Elizabeth Biscoe Calvert, from whom Mr. Calvert inherited it. 


67 


135 


136 


137 


138 


139 


GEORGE WASHINGTON’S CANDLESTICK 

A small Sheffield candlestick, silver-plated on copper, formerly owned 
by Washington. (John L. Clawson) Height, 2 inches 
With an affidavit by Madison Rush Calvert stating that the piece was 
presented by Washington’s adopted daughter, Eleanor Parke Custis, 
to Elizabeth Biscoe Calvert, from whom Mr. Calvert mherited it. 


BROOCH FROM ONE OF GENERAL WASHINGTON’S SPOONS 
Wrought in the shape of a small hatchet from a silver spoon, and 
engraved with the script monogram “G. W.” Glazed and framed, 
with label. (John L: Clawson) Length, 15 inches 
From the William Lanier Washington Sale, April, 1917. 


TORTOISE-SHELL SNUFFBOX OWNED BY WASHINGTON 
Inlaid with silver and gold piqué, marked “‘G. W.”’ The initials on 
the top are in facsimile of Washington’s handwriting. In a fine 
black morocco case, with inscription. (John L. Clawson) 

Size, 444, x laa et ines 
From the William Lanier Washington Sale, April, 1917. 
An affidavit by William Lanier Washington accompanies the snuff- 
box, stating that the relic was inherited from George Washington by — 
his nephew, Corbin Washington, and tracing its further history com- 
pletely until it was inherited by William Lanier Washington. 


[SEE ILLUSTRATION ] 


RARE STAFFORDSHIRE BUST OF GEORGE WASHINGTON 
Showing the General with black coat and flowered waistcoat. This 
bust in its original state is excessively rare, and we know of but one 
other similar, which is preserved in the British Museum. | 
Reproductions have been made several times during the last fifty 
years, and such reproductions should not be confused with this 
original. (John L. Clawson) Height, 8% inches 
From the William Lanier Washington Sale, April, 1917. 


[SEE ILLUSTRATION | 


BRONZE STATUETTE OF WASHINGTON EARLY 19TH CENTURY 
Finely modelled standing figure, the General being presented with 
his left hand on his breast, his right hand holding a manuscript. 
On a fluted half column of white marble, ormolu-mounted. (John L. 
Clawson) Height of figure, 91% inches; of base, 5 inches 


[SEE ILLUSTRATION] 


68 


TORTOISE-SHELL SNUFFBOX OWNED BY WASHINGTON 
[NUMBER 1387] 


RARE STAFFORDSHIRE BUST EARLY 19TH CENTURY 
OF WASHINGTON BRONZE STATUETTE OF WASHINGTON 


[NUMBER 138] [NUMBER 139] 


140 


141 


142 


143 


144 


RARE GOLD SNUFFBOXES, MINIATURES AND OTHER 
OBJECTS OF ART 


NUMBERS 140-185 4 

GOLD-MOUNTED LAPIS-LAZULI SNUFFBOX F ’ 
FRENCH, LOUIS XVI PERIOD — 7 

Lapis-lazuli mounted in gold. The mounts finely engraved with a 
various diaper patterns. Octagonal oblong in shape. Marks. (John — 


L. Clawson) Size, 24%, x 2le x 3% inches a 


JEWELLED GOLD BONBONNIERE ee 
Depressed globular shape with dome cover. Completely encrusted 
with lobed motifs of tourmalines and peridots surrounded by rubies, 


rhinestones and moonstones rising from a large topaz in the centre 


of foot; all in delicate open gold settings. A cabochon tourmaline 
in centre of top. (One stone missing) (John L. Clawson) . | 
Diameter, 2% inches 


GOLD SNUFFBOX 

By Tiffany. Enriched with panels of transparent: blue enamel | 
bordered with narrow bands of white enamel. The cover with a’ 
miniature in enamel of a classic landscape after Poussin. (John L. — 
Clawson) Size, 3 x 14% x % inches - 


GOLD SNUFFBOX DUTCH, LATE 18TH CENTURY 
Rectangular, with rounded corners and hinged lid. Engraved with a 
diapered ground of checkered pattern, framed with a border of 
foliage scrolls and rosettes, partly filled in with blue enamel. 18- 
karat gold. Stamped inside with Hall marks. (John L. Clawson) 

Size, 814 x 214 x VY inches 
From the George A. Hearn Collection. 


GOLD-MOUNTED GREEN MALACHITE SNUFFBOX 

FRENCH, LOUIS XVI PERIOD 
Octagonal oblong. Beautifully figured green malachite mounted in 
gold. The mounts of the lid, finely chased with foliage scrolls, typi- 
cal of the period; the side mounts, as small Corinthian columns. 
Marks. Lined with a brown and white speckled polished stone. 
(John L. Clawson) Size, 3¥g x 1% x 134 inches 

70 


145 


146 


| 147 


| 148 


149 


LOUIS XV GOLD SNUFFBOX FRENCH, 18TH CENTURY 
Deep rectangular hinged box. The cover finely chased with a gallant 
and lady, the sides and bottom with pastoral subjects, after Watteau. 
This decoration is executed in two tints of gold upon a ground en- 
graved with star pattern. The borders with scroll and floral orna- 
mentation. Stamped inside with marks, which are worn. (John L. 


Clawson) Size, 314, x 2144 x 154 inches 
LOUIS XVI GOLD PATCH BOX FRENCH, 18TH CENTURY 


Small oval hinged box enriched on all sides with beautiful engraving 
giving a rich rippled effect, sprinkled with small circles which gives 
the appearance of studding. Bordered by a narrow band chased 
with foliage sprays in a different tint of gold. The cover mounted 
with a miniature on enamel of a lady of high rank, encircled by a 
similar ornamentation. Compartmented interior with hinged lid 
similarly chased. Stamped inside with the maker’s marks, which 
are worn, and appear to be “L. F. T.”, in a shaped shield. (John 
L. Clawson) 4 Size, 214, x 134, x % inches 


LOUIS XVI GOLD SNUFFBOX FRENCH, 18TH CENTURY 
Oblong, rounded at the ends. The cover, sides and bottom enriched 
with panels of waved line engraving which produces a beautiful 
rippled effect; this is sprinkled with small circles, simulating stud- 
ding, framed in narrow bands of raised beading. Stamped inside 
with the maker’s mark, “P. J. L.”’ in a shaped shield with pellet and 
fleur-de-lys above. (John L. Clawson) Size, 334, x 114, x ¥% inches 


LOUIS XV GOLD AND AGATE BONBONNIERE 

FRENCH, 18TH CENTURY 
Beautifully streaked yellow agate, mounted in gold, finely chased 
with scrollwork. The gold mount pierced with small shaped panels, 
by this means exposing to view the beautiful texture of the agate. 
The cover mounted with a setting of brilliants representing a basket 
of flowers. (John L. Clawson) Oval. Size, 234 x 134 x 13% inches 


GOLD AND BLOODSTONE SNUFFBOX 
Octagonal oblong in shape. The cover mounted with a fine minia- 
ture portrait on enamel of Napoleon Bonaparte as General, full bust, 
showing left profile, wearing scarlet uniform with gold facings. 
Beautiful bloodstone with mottled red, green and yellow texture. 
Mounted in gold, finely chiselled with flower and foliage scroll orna- 
ment. Signed, ‘““Vachette a Paris.”° (John L. Clawson) 

Size, 332 x 214 x 34 inches 


71 


' 
: 
‘ 
/ 
4 


GOLD SNUFFBOX PRESENTED BY NAPOLEON 
TO THE MAYOR OF GIVET 


[NUMBER 150] 


150 GOLD SNUFFBOX PRESENTED BY NAPOLEON BONAPARTE 
TO DECOUXROSSE, MAYOR OF GIVET 
Heavy gold oblong snuffbox, enriched with bands of engraved foliage 
and swastika ornament. On the cover in large script are Napoleon’s 
initials in high relief, indicating that it was presented when he was 
First Consul, as these initials were never used after he became 
Emperor. Stamped inside with the maker’s mark, “C.O.”, between 
a heart and star in a lozenge-shaped shield. (John L. Clawson) 
Size, 34 xX 2% 84 aches 


Accompanied by the original letter of presentation through Marshal 
Duroc, one of Napoleon’s favorite officers, written in his official 
capacity as Governor General of the Palace. Translated it reads: 
“St. Cloud, 21 fructidor, an 11 de la République Francaise (Sep. 8, 
1808). 

The Citizen Decouxrosse, Mayor of Givet (on the Meuse). I have 
the honor, Citizen, to present to you on behalf of the First 
Consul a gold snuffbox with his monogram, as a special mark of his 
estecm and appreciation. Please accept the assurance of my con- 
sideration, DUROC.”’ 


[SEE ILLUSTRATION ] f. 
72 


GOLD SNUFFBOX GIVEN BY NAPOLEON 
TO HIS SISTER THE QUEEN OF NAPLES 


[NUMBER 151] 


151 GOLD SNUFFBOX GIVEN BY NAPOLEON I TO THE QUEEN 
| OF NAPLES 
: The cover mounted with a miniature of the Emperor by Jean Bap- 
tiste Isabey. Full bust portrait, the head slightly turned to the left, 
wearing blue uniform, orders and red sash across the breast, ini- 
tialled and dated, “J.I., 1815”. The box, oval in shape, enriched 
with bands of engraving and Sevres blue enamel. Stamped inside 
with the maker’s mark, “G.R.’’, in a lozenge-shaped shield. Gold 
quality, 750/1000 fine. 
On the inside of the cover is engraved the following: “This bow, 
enriched with the portrait of the Emperor Napoleon, (painted at 
Elba) was a gift from him to his Sister the Queen of Naples, and 
was presented by her to Col. Macerone, the Aide du Camp and friend 
of her husband, Joachim Murat, King of Naples.” (John L. Clawson) 
Size, 21% x 814 x 6/8 inches 


[SEE ILLUSTRATION ] 


T5 


GOLD SNUFFBOX WITH THE CROWNED ‘“‘N”’ 
SET IN DIAMONDS, PRESENTED BY NAPOLEON 
TO THE SULTAN OF MOROCCO 


[NUMBER 152] 


152 GOLD SNUFFBOX PRESENTED BY NAPOLEON I TO THE 


SULTAN OF MOROCCO 

Oblong, with shaped sides, the cover and bottom beautifully engraved 
with an all-over diaper pattern consisting of small rosettes upon a 
matted ground, bordered with a band of lunette and floral ornament. 
The shaped sides with narrow panels of similar decoration. Mounted 
on the cover is a fine oval medallion of Sevres blue enamel upon 
which is the crowned initial ‘‘N”’ set in small diamonds, this being 
encircled by a row of larger diamonds. (John L. Clawson) 


Size, 3144 x 214 x Y% mches 


This is accompanied by an affidavit from a previous owner, stating 
that it was purchased from the Collection of jewels and boxes belong- 
ing to the Sultan Abd-el-Aziz. 


[SEE ILLUSTRATION ] 


74 


LOUIS XVI GOLD AND ENAMEL SNUFFBOX 
WITH ENAMEL MINIATURES AFTER BOUCHER 


[NUMBER 153] 


153 LOUIS XVI GOLD AND ENAMEL SNUFFBOX 


FRENCH, 18TH CENTURY 
Oval in shape, beautifully wrought in two tints of gold with amatory 
and musical trophies, and floral sprays, the decoration on the sides 
divided into four panels by tapering pilasters hung with drapery 
festoons. The edges ornamented with bands of key pattern and 
meander engraving, partly filled in with blue enamel. The cover, 
sides and bottom, are enriched with six beautiful oval enamel minia- 
tures after Boucher, representing the story of Mars and Venus, 
each panel depending from a ribbon tie. Stamped inside with the 
maker’s marks, which are partly obliterated. (John L. Clawson) 
Size, 2¥, x 15% x 114 inches 


[SEE ILLUSTRATION ] 
15 


GOLD AND ENAMEL SNUFFBOX 
WITH ENAMEL MINIATURE AFTER FRAGONARD 


[NUMBER 154] 


154 GOLD AND ENAMEL SNUFFBOX 
Louis XVI style. Enriched with panels of fine translucent amethyst 
enamel bordered with delicate beading in white enamel. The cover 
embellished with an oval enamel miniature of a pastoral subject after 
Fragonard. Borders chased with bands of laurel sprays partly filled 
with ruby-red and emerald-green enamel. (John L. Clawson) 

3 Oval, 234, x 2 x 112 inches 

[SEE ILLUSTRATION | 


76 


d 
= 
- 


GOLD SUUFFBOX PRESENTED BY 
MADAME DE STAEL TO HER HUSBAND 


[NUMBER 155] 


155 GOLD SNUFFBOX PRESENTED BY MADAME DE STAEL TO 
HER HUSBAND 

Rectangular gold box beautifully chiselled at the sides and on the 

base with panels of diaper ornament framed with engraved bands 

of foliage scrollwork partly filled in with blue enamel. The cover 

is enriched with an oval miniature on ivory of Madame de Staél. 

Bust portrait, head slightly turned to the left, wearing embroidered 

yellow and white silk turban-like headdress, her hair falling in ring- 

lets from the temples, a yellow silk low-neck bodice with miniature 

at her breast. In the four corners of the cover are set four large 

diamonds in claw setting, the whole outlined by a narrow band of 

blue enamel. Stamped inside with the maker’s mark, “A.H.’, in a 
lozenge-shaped shield. (John L. Clawson) 

Size, 85 x 214, x 34 inches 


The Baroness de Staél, usually known as Madame de Staél, was 
born in Paris in 1766, and died in 1817. She was the daughter of 


OL 


- 


Neckar, Minister of Finance under Louis XVI, and married Baron 
de Staél-Holstein, the Swedish Minister to France. She was married 
a second time to a young officer of the Swiss guard, named Rocca, 
to whom she gave the snuffbox because on it was a picture of herself 
at the age of twenty, the age of the man whom she was marrying. 
She was twenty-three years his senior. Baroness de Staél was 
reckoned one of the most brilliant women im France of her period, 
and she did not repudiate this belief herself. Once she said to 
Napoleon: “Sire, who do you think is the greatest woman in 
France?” She was very much surprised when she received this 


reply: “The greatest woman in France,” answered Napoleon, “1s 
the woman with the most children.” 


[SEE ILLUSTRATION, PAGE 77] 


LOUIS XVI GOLD AND ENAMEL SNUFFBOX 
WITH MINIATURES AFTER FRAGONARD 


[NUMBER 156] 


156 LOUIS XVI GOLD AND ENAMEL SNUFFBOX 
7 FRENCH, 18TH CENTURY 
Oval in shape, the cover enriched with two fine octagonal enamel 
miniatures of amatory subjects after Fragonard, outlined with bands 
of blue enamel and laurel engraving, the space surrounding the 
miniatures being beautifully chased with sprays of foliage. The 
borders of the cover engraved with entwined foliage ornament partly 
filled in with blue and black enamel. The sides embellished with 
panels of blue enamel intersected by engraved baskets of fruit. The 
bottom with similar decoration. (John L. Clawson) 
| Size, 334 x 214 x Ye inches 
[SEE ILLUSTRATION | 


78 


157 


158 


159 


GOLD SNUFFBOX FRENCH, LOUIS XV PERIOD 
Deep rectangular in form. The cover, bottom and sides exquisitely 
enriched with an amatory subject after Boucher in fine colors, framed 
in scrolls and sprays of flowers in enamel. This decoration is ap- 
plied to the gold surface which is chiselled all over with a diaper 
pattern framed at the borders with trellis ornamentation. Stamped 
inside: with the maker’s marks, which are partly worn. An ex- 
tremely rare specimen. (John L. Clawson) 

Size, 33 x 25 x 1% inches 


COUNTESS DU BARRY’S CRYSTAL AND GOLD SEAL 

Clear tapered crystal, spreading at the base and rounded at the top, 
eut with fluting and small concave circles around the shoulder. 
Mounted at the top with a gold boss, chiselled with amatory trophies, 
encircled by a band of laurel ornament in two tints of gold. The 
seal base with the arms of the Comtesse du Barry, framed in gold, 
engraved with a similar wreath of laurel ornamentation. (The 
crystal slightly chipped) (John L. Clawson) Length, 3 inches 


From the Collection of the Marquis de Girardin. 

This is accompanied by an affidavit from the Marquis de Girardin, 
which translated reads: “This seal belonged to the Countess du 
Barry, it was given to my great-grandfather. (Signed) Marquis de 
Girardin.” 

The great-grandfather was Xavier, Comte de Girardin, born in 
Lunéville in 1765, died in 1827. He was celebrated for having ex- 
tended hospitality to Jean Jacques Rousseau at the Chateau of 
Ermenonville. 


THREE VELVET-LINED CASES COVERED IN CRIMPLED GRAY 


CALFSKIN 
For snuffboxes, ete. (John L.-Clawson) (3) 
Size, 11 x 9 inches; 1014 x 8 inches; 514 x 414 inches 


i, 


160 


161 


162 


163 


KNIFE, FORK AND SPOON USED BY NAPOLEON I DURING 
HIS CAMPAIGNS 3 

These three fine relics of Napoleon were used by him in the field; 
it would therefore be difficult to find three articles which have a 
stronger personal association with the Emperor. They comprise 
(1) A Folding Spoon, with silver-gilt rat-tail bowl, engraved with 
the letter ‘““N” in a laurel wreath. This bears the mark of Jurgen 
Linden, a Russian silversmith who worked in Riga between 1674- 
1688; the pistol handle is of steel, encased in silver with niello 
decoration. Length when open, 614, inches 


(2) A Folding Knife, with steel blade, similar handle to the spoon, 
engraved with letter “N”’. Length when open, 6 inches 


(3) A Folding Fork, with steel prongs, the handle similar to spoon 
and knife. Engraved with the letter “N”’. 
Length when open, 534, inches 


Enclosed in green morocco case lined with crimson velvet. (John L. 
Clawson) (3) 


SEVRES BISQUE BUST OF NAPOLEON AS FIRST CONSUL 
Finely modelled representation of the First Consul. Wearing em- 
broidered high-collared coat and stock. With black and gold fluted 
plinth, ornamented with laurel festoons and inscribed “Bonaparte ler 
Consul”. With glass case. (John L. Clawson) 

Height, 121% inches 


PAIR OF MINIATURES ON IVORY BY CHARLES DAVID 

NAPOLEON I, and JOSEPHINE. Bust portraits. Gilt metal and 

tortoise-shell frames. Signed. Very fine. (John L. Clawson) (2) 
Oval. Size, 314 x 3 inches 


MINIATURE ON IVORY FRENCH, LATE 18TH CENTURY 
MARIE ANTOINETTE. Full bust portrait, slightly turned to the left, 
wearing large white and crimson silk headdress with ostrich 
feathers, and low-neck crimson bodice with white lace collar. After 
Lebrun. Chased gilt metal and silver frame. (John L. Clawson) 
Diameter, 314, inches 


80 


| 


164 


165 


166 


167 


PAIR OF MINIATURES ON IVORY BY FRANCOIS DUMONT 
NAPOLEON I, after Delaroche; EMPRESS JOSEPHINE, after Gérard. 
Three-quarter length. Gilt metal frames. Signed. Very fine. 
(John L. Clawson) Oval. Size, 4 x 314 inches 
From the Brady Collection. 


MINIATURE ON IVORY ENGLISH, 18TH CENTURY 
GENERAL JAMES WOLFE. Bust portrait, half turned to the right. 
Wearing red uniform with yellow and blue facings and blue stock; 
the hair unpowdered. Painted just before his death. In chased 
metal mount; red morocco case. Very fine. (John L. Clawson) 
Oval. Size, 2 x 11% inches 


“The Hero of Quebec.” Commanded the famous expedition up the 
St. Lawrence River against Quebec. Mortally wounded in the battle 
of The Plains of Abraham, with the heroic Montcalm, September 13, 
1759. 


LOCK OF GENERAL WOLFE’S HAIR 

Contained in a gilt metal oval locket, inscribed on the back: ‘Pro 
Patria Mori, Maj. Gen. James Wolf, 13 Sept., 1759. T.B.” The name 
Wolfe has been spelt without the “e’’, which is very interesting. In 
a red morocco case. (John L. Clawson) Size of locket, 3 x 2% inches 


This is accompanied by a certificate from John Arthur Burnaby of 
Greenwich, Kent, to the effect that the locket was given to his father 
by Mr. Thomas Bell, sometime Aide-de-camp to General Wolfe. 


MINIATURE ON IVORY ENGLISH, 18TH CENTURY 
Sir WILLIAM Howe. Bust portrait, three-quarter turned to the left, 
wearing red coat, white lace stock, and powdered hair. Mounted 
as gold brooch. In a red morocco case. Very fine. (John L. 
Clawson) Oval. Size, 114, inches x 1 inch 


Friend of General Wolfe and brother of Admiral Richard Lord 
Howe, Commander-in-chief of the fleet operating against Count 
dEstaing in the Revolution. Commanded at the battles of Louis- 
bourg and Quebec under General Wolfe, and was Commander-in- 
chief of the British forces during the earlier years of the Revolution. 
His name is especially remembered in connection with the battles of 
Bunker Hill, Long Island, White Plains, Brandywine and 
Germantown. 


81 


350, 


eye) 


6S, 


MINIATURE OF SIR WALTER SCOTT 
PRESENTED BY THE “‘WIZARD OF THE NORTH” 
‘ TO HIS DAUGHTER MRS. LOCKHART 


[NUMBER 168] 


| 
se 


1* 


~ 


esr ee 


—s ee 


168 MINIATURE OF SIR WALTER SCOTT 
Fine bust portrait on ivory, half turned to the right; mounted in oval 
pinchbeck frame. In plush-lined black morocco case. Presented by 
the great novelist to his daughter, Mrs. Lockhart. (John L. Clawson) 
Size, 314 x 3 inches 
From the Harry B. Smith Collection, in the catalogue of which—“‘A 
Sentimental Library”’—there is a color reproduction of this fine piece. 


[SEE ILLUSTRATION ] 


82 


169 


170 


171 


172 


173 


GEORGE III JEWELLED GOLD WATCH ENGLISH, DATED 1815 
Massive 18-karat gold case beautifully enriched with royal blue 
enamel back encrusted with open jardiniére of flowers in rose dia- 
monds and surrounded by three borders of evenly matched seed 
pearls. Porcelain dial with large extra minute hand; enriched on 
rim with similar pearls to back. Movement by D. & W. Moore, 
Fenchurch St., London. Case Hall-marked, and maker’s initials 
“TW.” (John L. Clawson) Diameter, 244 inches 


OLD SWISS JEWELLED SILVER-GILT WHISTLING BIRD BOX 

An ingenious example of mechanical art. In the form of a small 
casket on dolphin feet, finely ornamented with filigree work and 
enamel and set with brilliants and mother-of-pearl. The mechanism 
is wound up by a key at the base; the bird begins whistling by mov- 
ing a release to the left, which is on the front of the box. (John L. 
Clawson) a Size, 334, x 214 inches 


RARE ROMAN CARNELIAN INTAGLIO OF THE IMPERIAL 
PERIOD 

Representing in delicate carving the Forge of Vulcan. In seven- 
teenth century setting of painted enamel. Oval, 1144 x 11% inches 


ROMAN JASPER CAMEO PROBABLY IMPERIAL PERIOD 
A graceful female bust in classic style, executed in bluish jasper and 
set on brown sardonyx. Probably a work of the Imperial period. 
Renaissance mounting of the sixteenth century, gold, with white 
enamel rim. Green rosettes on top and base. 

Oval. Size, 24% x 1% inches 


This belonged formerly to the Collection of the Earl of Arundel. It 
was identified as Junia Claudia. From the Arundel Collection it 
passed into that of the Duke of Marlborough. 


SILVER ENAMEL LAPIS LAZULI STANDING COUPE 

Made by the celebrated French jeweller J. Chumet. Oval shell- 
shaped coupe on baluster stem with oval foot. Mounted with winged 
scroll dragon handle in colored silver enamel. In case. (John L. 
Clawson) Height, 514 inches 


85 


174 


175 


176 


177 


178 


179 


SILVER ENAMEL, IVORY AND GILT BRONZE JEWEL CASKET 
In the form of miniature Louis XVI armoire, with enriched pediment 
and lattice pilasters, supported on leaf and claw feet. With two 
doors, the upper with miniature, ‘“‘a court lady festooning the altar 
of love”. Signed Laur. Lower door, pilasters and ends enriched 
with dainty silver enamel, doves within wreath, rosebuds, etc. 
(John L. Clawson) Height, 14 inches; width, 6 inches 


GOTHIC JEWELLED AND ENAMELLED METAL CASKET 
French or German early fifteenth century. In the form of a shrine, 
one side with fall front and ornamented with six star-like circular 
enamel medallions intersected by small chased rosette bosses. The 
reverse side with six figures of saints flanked by small square bosses 
inset with various colored stones. The ends with similar ornamen- 
tation. A pierced frieze at the top with three ball finials, one of 
which is missing. A museum piece. (Robersons) | 

Height, 10 inches; length, 1014, inches 


FRENCH SILVER AND ENAMEL CIGARETTE BOX 
The cover mounted with picnic scene, painted on ivory, after 
Watteau. Very fine. (John L. Clawson) Size, 6144 x 414, inches 


ANTIQUE JEWEL-STUDDED HUNTING SWORD 

Interesting specimen, with horn handle and jewel-studded leather 
scabbard. The curved blade inscribed “Edwardus Prins Anglie’’. 
(Robersons) 


SMOKED TOPAZ BOWL ON STANDARD ITALIAN, 17TH CENTURY 


- The bow] oval, shell-shaped, with acanthus decoration, is carved from 


a single piece of topaz and is finished with an ormolu rim decorated 
with the graceful figure of an amorino standing at one end of the 
rim and shooting an arrow. A snail is seen on the opposite end. On 
the sides are Renaissance mascarons of bearded men set with stones. — 
The base is baluster-shaped, with ormolu mounting. A rare and 
precious piece. (Slight repairs) Height, 8 inches 


RARE AGATE BOWL ITALY, 16TH CENTURY 
The circular bowl wrought of a piece of agate with brown and gray 
veins. Baluster base with gold enamel mounting showing graceful 
late Renaissance motifs executed in black and white and studded 
with turquoise. Height, 434, inches 


84 


PORN GCOS: “MEER. RE. MR ian sede 


PERSIAN LUSTRE TILE, 15TH CENTURY 


MBER 182] 


[NU 


i80 


181 


182 


183 


184 


185 


RHAGES POLYCHROME POTTERY BOWL 

PERSIA, 12TH-13TH CENTURY 
A figural composition in the delicate pastel shades characteristic of 
the polychrome overglaze technique. In the centre is a king seated 
on athrone. To the right, a hunter on horseback pursues a leopard, 
which escapes across the foreground. To the left, a barefooted per- 
sonage runs toward the rim of the bowl. Border of “coufique 
fleurl’. Diameter, 81/4, inches 


RHAGES POLYCHROME POTTERY BOWL 

. PERSIA, 12TH-13TH CENTURY 
A legendary composition showing two personages, with attendants, 
seated on either side of a fantastic cypress tree. In the foreground 
is a pool with fishes, on the banks of which are a pair of ducks. Two 
birds fly overhead. The bowl is bordered inside and outside. Typi- 
cal color combination with dominant notes of crimson, fine turquoise 
and black. Diameter, 85%, inches 


FIFTEENTH CENTURY PERSIAN LUSTRE TILE 
The centre is occupied by the figures of two genii upholding a crown. 
The frame a columnar mihrab. Enamelled in brilliant metallic 
lustre of gold, white, blue and turquoise. It is inscribed, ‘‘In the 
Name of God, the Merciful, the Clement; the building of this dwell- 
ing was commenced by the most mighty Sultan, the victorious Abu 
Said Bahadar Khan whose kingdom God make stand. Written by 
Neri Eddis Muhammed in the year 860” (A.D. 1444). (Sion House) 
Size, 25 x 1714 inches 
[SEE ILLUSTRATION, PAGE 85] 


TWO OLD SAXE VASES 
Marble-green with white serpent handles. (2) 
| Height, 101% inches 


ANTIQUE DECORATED LIMOGES ENAMEL TAZZA 

The bowl with allegorical figure subject. Baluster stem and circular 

foot with grotesque masks in the Renaissance manner. (Robersons) 
Height, 6 inches; diameter, 734, inches 


OLD CREAM GLAZED POTTERY FIGURE OF AN OWL 
With aperture at back, forming money saving box. (Robersons) 
Height, 13 inches 


86 


RARE OLD SEVRES AND CHINESE PORCELAINS 


NUMBERS 186-196 


186 DECORATED SEVRES BLEU-DE-ROI CUP AND SAUCER 


187 


188 


| DATED 1779 
Gold decorated, painted with pastoral scenes in circular panels by 
Gérard. Bases with mark and date. (Saucer repaired) (Robersons) 


(2) 


PAIR OF SEVRES DECORATED TURQUOISE-BLUE CANDLE- 
STICKS LOUIS XVI PERIOD 
Charming pair. Formed as urns standing on plinths, painted with 
butterflies, birds and flower festoons in panels outlined in gold. 
Ormolu bases with winged paw feet. (Robersons) (2) 


OLD SEVRES PORCELAIN ROSE WATER EWER AND COVER 
AND OVAL-SHAPED BASIN DATED 1782 
Apple-green ground inside and out, decorated with red and gold 
trellis design, with six panels, reserved and painted in colors, with 
hunting scenes in landscapes, framed by broad gilt bands and 
mounted with Louis XVI chased ormolu rim and shell billet to the 
ewer, plinth with lion’s claw feet to the bowl. (Robersons) (24) 
Height of ewer, 9 inches; width of bowl, 1214 inches 


Illustrated and described in the private catalogue of the Fether- 
stonhaugh heirlooms from Up Park, Petersfield, Hants. 


87 


189 PAIR OF SEVRES BLEU-DE-ROI PORCELAIN VASES — ee 
Ribbed bottle shape, touched with gold. Ribbon ties at the neck. a 
Circular bases, standing on square gilt metal plinths. (One slightly — | 
chipped at the base) (Robersons) (2) Height, 1734, inches 


[SEE ILLUSTRATION ] 


190 RARE OLD SEVRES TURQUOISE-BLUE PORCELAIN TULIP- 
SHAPED VASE AND COVER WITH ORMOLU MOUNTS 

LOUIS XVI PERIOD 
‘Beautifully shaped vase in fine turquoise-blue or bleu céleste, a 
color invented by Hellot in 1752. Ornamented with pierced and 
chased ormolu lion’s mask and wreath handles; the shaped rim with 
entwined ormolu mount supporting a domed cover with pomegranate 
and acanthus-leaf knob. The stem of the vase decorated with acan- 

thus leaves, standing on square base. (Repaired) (Robersons) 
Height, 181% inches 


% 
. 
; 


Illustrated and described in the private catalogue of the Fether- 
stonhaugh heirlooms from Up Park, Petersfield, Hants. 


[SEE ILLUSTRATION ] 


88 


RARE SEVRES PORCELAIN VASES 
[NUMBER 189] [NUMBER 190] [NUMBER 189] 


Ea 


192 


IMPORTANT PAIR OF OLD SEVRES PORCELAIN CAMPANA- 
SHAPED VASES AND COVERS WITH GROS-BLEU AND GOLD 
(EIL-DE-PERDRIX GROUND -. LOUIS XVI PERIOD 
Each with two oval panels, reserved, beautifully painted .with 
Boucher subjects of a cupid seated on clouds, in a garden, and 
sporting with doves, bow and arrow, and on the reverse with a 
group of flowers, in rich colors, in simple gilt band framing. The 
handles are modelled as white and gold coroneted female terminal 
busts, holding festoons of oak foliage, their elbows resting on the 
edge of the vase, the covers surmounted by gilt pineapple knobs. 
They are mounted on Louis XVI square plinths of chased ormolu 
with lion’s claw and acanthus leaf feet, and pierced rims of the 
same with fluted edges. (Robersons) (2) | — Height, 20 inches — 


Illustrated and described in the private catalogue of the Fether- 
stonhaugh Heirlooms from Up Park, Petersfield, Hants., where 
they. were housed from 1787 until coming into the possession of 
Mr. Roberson. 


[SEE ILLUSTRATION | 


IMPORTANT OLD SEVRES GROS-BLEU PORCELAIN OVIFORM 
VASE AND COVER PAINTED BY DODIN LOUIS XVI PERIOD 
The body of the vase encircled by a band of four cartouche-shaped 
panels, white and gold, in high relief, suspended by cords and rings 
from boutons. The front panel is finely painted by Dodin, with a 
Camp scene, with a woman and two soldiers outside a tent, and a dog 
and vegetables, etc. in foreground; each of the other three panels 
is painted in rich colors with a large group of various flowers and 
fruits. The neck, stem and cover have bands of fluting, in gros 
bleu, white and gold, a band of white and gold interlaced strapwork, 
inclosing boutons and ovals, around the lip, the cover gilt with an 
oak wreath on gros bleu ground and surmounted by a white and 
gold fir-cone knob, the stem encircled by a row of large white pearled 
beads in relief and white and gold laurel wreath foot. It is mounted 
on a Louis XVI square plinth of chased ormolu, with lion’s claw and 
acanthus-leaf feet, and with pierced ormolu rim, with fluted and 
corded edges. Showing faint cracks. (Robersons) 

3 Height, 2214 inches 
Illustrated in the private catalogue of the Fetherstonhaugh heir- 
looms from Up Park, Petersfield, Hants. 
A similar vase with decoration by Dodin is in the British Royal 
Collection. | 

[SEE ILLUSTRATION ] 


90 


IMPORTANT OLD SEVRES PORCELAIN VASES 
[NUMBER 191] [NUMBER 192] [NUMBER 191] 


193 IMPORTANT PAIR OF DECORATED SEVRES VASES WITH | 
COVERS EARLY LOUIS XVI PERIOD 
White oviform vases on square bases with gilt branch handles at 
the sides. Bodies and domed covers beautifully painted with small 
rose bouquets encircled by foliage wreaths, each side with a large 
central rose bouquet contained within wreaths of small blue flowers, 
by the well-known decorator Tandart. The stems decorated with 
basket pattern in gold. Standing on ormolu mounted green velvet 
stands. Base of one with Sévres mark enclosing letter “P”, the 
date mark for 1768 and with the decorator’s mark of three dots 
below. (Robersons) (2) Height, 1714 inches 
From the Lord Foley Collection. | 


7 
pT 


[SEE ILLUSTRATION] 


92 


Sp come “rs gomcegonainpereerecneerar eed serene Mei 


A RAHM FS ORD ot ROR Oo ERDAS RRR BRE AGES ABA SMMR AL ESE AREREAD BIH BRE AK: 


PAIR OF EARLY LOUIS XVI DECORATED SEVRES VASES 
[NUMBER 193] 


Did 


194, 


ee A meat el Ait. of. Gioia On an oval 0 
rocaille decoration is a porcelain group by F. E. M« 


the pair is a bronze trellis on which grow deli 
lain flowers. At their feet lies a Bue sage re 


AU SLE AN AN D GILT BRONZE INKSTAND © 
_MEISSEN, GER 


representing a seated Chinaman, who reads Bet 
shade of a parasol held by a fair-haired pol 


[SEE ILLUSTRATION ] 
94 


PORCELAIN AND GILT BRONZE INKSTAND 
MEISSEN, ABOUT 1750 


[NUMBER 194] 


«7 
¥ 
" 


~e 


195 IMPORTANT PAIR OF CHINESE DECORATED FAMILLE-ROSE — 
VASES WITH COVERS YUEN CHING PERIOD — 
Handsome pair of large vases. The bodies bulbous octagonal shape = 
with short necks and slightly flaring bases. The shaped panels a 
beautifully decorated in enamel famille-rose colors with landscapes _ 
and flowers of the four seasons, vases and other objects, the divid- _ 
ing borders slightly raised and with decoration of chrysanthemum ee 
and other blossoms in famille-verte and famille-rose colors on a y 
mirror-black ground. The small panels at the neck similarly deco- 
rated and framed with borders of patera in rouge-de-fer. Thedomed 
covers are decorated in similar colors and are surmounted by gilt — 
kylins. Unfortunately one of these covers has been lost, but Mr. 
Roberson will undertake to replace it with an exact reproduction 
by Samson of Paris if the purchaser so desires. (Robersons) (2) 

Height, 28 inches 


[SEE ILLUSTRATION ] 


196 CHINESE DECORATED PORCELAIN VASE KANG HSI PERIOD 
Elongated oviform ribbed vase decorated with panels of flower and 
butterfly ornament in rouge-de-fer and famille-verte colors. Also 
modelled with small dragon and mask motifs. Stand. (Robersons) 

Height, 11 inches 
96 


PAIR OF CHINESE DECORATED FAMILLE-ROSE VASES 
YUEN CHING PERIOD 


[NUMBER 195] 


Le 


198 


193 


200 


FINE OLD ENGLISH AND FRENCH FURNITURE 


NUMBERS 197-255 


TWO QUEEN ANNE BURL WALNUT MIRRORS 

ENGLISH, EARLY 18TH CENTURY 
Upright frames gracefully arched with broad mouldings covered 
with figured walnut veneer. Bevelled Vauxhall plates in two sec- 
tions. (2) Size, 46 x 1834 inches 


WILLIAM AND MARY YORKSHIRE OAK DRESSER 

ENGLISH, 17TH CENTURY 
In two parts, the lower a cupboard designed with three arched sec- 
tions, graceful vase-shaped splats joined by a solid panel. Fitted 
with four small and one large centre drawer and furnished with 
drop handles of a more recent addition. The upper part forms a 
plate rack with three moulded shelves. Solid beam back. (Sion 
House) _ Height, 6 feet 6 inches; width, 5 feet 2 mches 


WILLIAM AND MARY NEEDLEWORK AND WALNUT CHAIR 

High slightly raked back and seat covered in old silk and wool 
needlepoint designed with bouquets of flowers and foliage. Baluster 
turned legs and stretchers. (With slight restorations) (Robersons) 


STUART OAK DRESSER ENGLISH, 17TH CENTURY 
In two parts. The lower on four columnar balusters on beam plat- 
form. The front fitted with three drawers with escutcheon handles 
of a more recent addition. The upper part forming a plate rack 
with three guarded shelves. Dentiled cornice. (Sion House) 
Height, 6 fect 514 inches; width, 5 feet 1 inch 


98 


201 


202 


203 


204 


205 


206 


SIX WINDSOR ELM TREE SPINDLE-BACK SIDE CHAIRS 
ENGLISH, 18TH CENTURY 
The round backs with six upright spindles. (Sion House) (6) 


TWO WINDSOR SPINDLE-BACK ELM TREE SIDE CHAIRS 
ENGLISH, 18TH CENTURY 
Similar to the preceding. (Sion House) (2) 


SIX WINDSOR ELM TREE WHEEL-BACK SIDE CHAIRS 

ENGLISH, 18TH CENTURY 
The backs enriched with pierced splats centred upon a wheel. (Sion 
House) (6) 


SIX WINDSOR WHEEL-BACK CHAIRS | ENGLISH, 18TH CENTURY 
Similar to the preceding. (Sion House) (6) 


GEORGIAN MAHOGANY BOOKCASE ENGLISH, 18TH CENTURY 
Fine specimen with exceptional purity of design. Made in one piece. 
The lower part fitted with two moulded drawers, the upper part 
with glazed doors enriched with boldly protruding meander mullions. 
The cornice with Greek pattern frieze. (Sion House) 

Height, 6 feet 11 inches; width, 2 feet 10 inches 


SHERATON PAINTED AND CARVED SETTEE 
ENGLISH, LATE 18TH CENTURY 
In the Italian taste of the period. Oblong back crowned by pediment 
panel carved in the recess with sphinxes and a mask. Sloping arms. 
Faced by boldly carved lions’ heads. Terminating in claw feet, on 
which rest turned baluster supports with fluted feet. Back, seat 
and arms are panelled with their original caning, the frames are 
painted jade-green. (Sion House) 
Height, 3 feet 31% inches; length, 6 feet 


oe 


SHERATON PAINTED AND CARVED ARMCHAIR 


[NUMBER 207] 


207 SHERATON PAINTED AND CARVED ARMCHAIR 
ENGLISH, LATE 18TH CENTURY 


Made to harmonize with the preceding. (Sion House) 


[SEE ILLUSTRATION | 
100 


; > ae yt ee ee 


ES aT grommet 


Tiga ay ay, 


paca 
“£244. “A 
} 


QUEEN ANNE WALNUT HIGHBOY 
[NUMBER 208] 


208 QUEEN ANNE WALNUT HIGHBOY ENGLISH, 1700-1710 
Handsome piece, made in two sections; the upper part, a chest with 
three long and two small drawers with banded fronts. The stand 
with shaped apron with three small drawers. Finely carved cabriole 
lees with Spanish feet. One side slightly blistered. (Robersons) 

Height, 52 inches; width, 37 inches 
[SEE ILLUSTRATION | 


LOL 


209, 


210 


211 


212 


213 


QUEEN ANNE LADY’S WALNUT SECRETARY-BOOKCASE ~ a 
ENGLISH, EARLY 18TH CENTURY 


3 In two parts of graceful proportion. The lower part fitted with four = 
drawers with ring handles and desk front enclosing arched pigeon- 


holes and drawers. The upper part fitted with one door. Ogee 
moulded cornice. The base veneered with richly figured burl walnut 
and enriched with lines of hollywood. am 

Height, 5 feet 514 inches; width, 19 inches 


SIX SPINDLE-BACK ELM TREE CHAIRS 


Tall ers composed of columnar uprights with shaped head rails 
and flat centre and bottom rails supporting five vase-shaped baluster 3 
spindles. The turned slightly tapering supports terminate in club | ; 
feet. Turned knobbed baluster front rails. In fine state of preser- ; 
vation. (Sion House) (6) 


TWO SPINDLE-BACK ELM TREE CHAIRS 
: ENGLISH, 18TH CENTURY 
Similar to the preceding. (Sion House) (2) 


TWO SPINDLE-BACK ELM TREE CHAIRS 
ENGLISH, 18TH CENTURY 
Similar to the preceding. (Sion House) (2) 


GEORGIAN MAHOGANY AND PAINTED HIGH POST TESTER 
BED ENGLISH, 18TH CENTURY 
Two columnar front posts with fluted and beaded shafts rising from 
urn-shaped base, boldly carved with acanthus and crowned with 
acanthus-carved capital. Panelled rail ends. The tester is composed 
of three arched sections painted with Greek ornaments in yellow on 
black ground with key panels painted in rose color camaieu of two 
musical amorini plucking a lyre. French linen hangings of a more 

recent addition. (Sion House) 
Extreme height, 10 feet 1 inch; length, 7 feet 4 inches; 
width, 6 feet 2 inches 

[SEE ILLUSTRATION ] 


102 


ENGLISH, 18TH CENTURY 


a ee ee —— 
ee ee Oe _ 


2 Ss See 


rr nil 
7 aha 


pee eee 


a 
a) 
ey 
Z 
< 
a 
Pa 
QF 
Zw 
af oD 
cy ro 
ae AN 
Ga & 
ae aa) 
NM — 
i Om 
au pb 
rie 
< 
So) 
oe 
) 
ea 
me 


214 QUEEN ANNE MEN PSEA DAYBED see 
* ENGLISH, EARLY | 

Conipaeed of hoop-shaped back with moulded ‘side r 
urn-shaped splat. The frame is moulded and rests on 
supports connected by plain stretchers. Slip sides. i 
Height of back, 35 lees length, 6 Bee 7 


[SEE ILLUSTRATION] 
104 


QUEEN ANNE WALNUT DAYBED 
[NUMBER 214 | 


215 


216 


217 


218 


WILLIAM AND MARY CARVED WOOD CHIMNEY PIECE 


ENGLISH, 17TH CENTURY 


Composed of ogee moulded facing surmounted by an overmantel of 
two deeply recessed moulded panels carved with boldly protruding 
fruit festoons and the centre panel holding the arms of the Rutlands 
painted in colors on canvas with the motto, “Pour y Sage Stok 
Heavily moulded cornice. (Sion House) 

Height, 7 feet 5 inches; width, 5 feet 4 inches 


[ SEE ILLUSTRATION] 


LADY’S LOUIS XV KINGWOOD MARQUETRY SECRETARY 
FRENCH, 18TH CENTURY 
A dainty specimen in beautifully matched kingwood with fine mar- 
quetry inlay of flower baskets and sprays. The fall front encloses 
four small drawers with geometrically inlaid fronts and ormolu 
borders, a drawer above and below. Slender ormolu mounted 
eabriole legs. Mottled brown marble top. (Warwick House) 
Height, 46 inches; width, 24 inches 


ELIZABETHAN OAK DINING TABLE 

ENGLISH, SECOND HALF OF THE 16TH CENTURY 
A fine example in heavy solid oak construction. Plain rectangular 
top composed of four solid planks bound at the ends. Shallow 
moulded frieze. Bold baluster turned legs with Doric capitals and 
block bases connected by heavy footrails. Strong Italian Renais- 
sance influence in the design. (obersons) 

Size of top, 5 feet 10 inches x 2 feet 9 inches 


ADAM MAHOGANY SIDEBOARD 
ENGLISH, 18TH CENTURY 
Of unusually harmonious proportions. Straight front with protrud- 
ing centre. The stiles inlaid with bands of kingwood and lines of 
ebony. The sides fitted with deep cellaret drawers, the centre with 
a long silver drawer with arched opening beneath. Graceful spade 
foot supports. Shaped top veneered with figured mahogany and en- 
riched with bands of satinwood and lines of ebony. Fretted wreath. 
brass handles, with sunflower escutcheons. (Sion House) 
Height, 2 feet 11 inches; length, 5 feet 214, inches 


106 


WILLIAM AND MARY CARVED WOOD CHIMNEY PIECE 


ENGLISH, 17TH CENTURY 


[NUMBER 215] 


219 JACOBEAN WELSH OAK HUTCH CUPBOARD 


220 


221 


ENGLISH, 17TH CENTURY 

In two parts. The lower with two doors and moulded stiles; the doors 
on their original wrought-iron strap hinges. The upper, a coffer, 
composed of two larger and one smaller moulded panel, two of which 
are hinged as drawers. The moulded cornice is furnished with two 
knob-shaped pendants. This cupboard, though of Puritanical sim- 
piety, is noticeable for the fine scale of its molding. (Sion House) 
Height, 5 fect 314 inches; width, 4 feet 61% inches 


SHERATON BOOKCASE ENGLISH, LATE 18TH CENTURY 

Made in two parts. The lower a cupboard with two doors, concealing 
trays and hinged front drawer uncovering writing compartment. The 
doors as well as the drawer are veneered with a richly figured ma- 
hogany with finely designed geometrical inlays of satin and. king- 
woods. The cabinet of the interior is veneered with satinwood. The 
upper part a glazed bookcase of a classical mullion pattern. Frieze 
and cornice are inlaid with bands of satin and kingwoods. (Sion 
House) Height, 7 feet 4 inches; width, 3 feet 914 inches 


GEORGIAN MAHOGANY SECRETARY-BOOKCASE 
ENGLISH, 18TH CENTURY 
In two parts. The lower composed of two panelled doors with cham- 
ferred moulding. Hinged drop front enclosing several interior draw- 
ers. The front is inlaid with fine beadines of king and holly wood on 
a richly figured and matched veneer. Original ormolu escutcheon 
handles and circular chased knobs and engraved escutcheon plates. 
The top is fitted with two glazed doors with finely moulded meander 
mullions. Dentiled and moulded cornice. (Sion House) 
Height, 6 feet 10 inches; width, 3 feet 9 inches 


Me LOSE 


222 THE IMPORTANT CHARLES CLAY MUSICAL CLOCK 
ENGLISH, EARLY 18TH CENTURY 

This rare a important clock, well known to all collectors and stu- 
dents of old clocks and watches, is illustrated and described in 
Britten’s “Old Clocks and Watches and Their Makers’’, page 245. We 
quote the following description from his book: 

“Charles Clay, Musical clock by him—A remarkably handsome mu- 

_ sical clock by Charles Clay, of Fenchurch Street, dating from about 
1740, which stood for many years in a manor house in Suffolk, is 
shown in Fig. 228 by favor of Mr. P. Webster. It is 8 feet 6 inches in 
height, the case being divided into two portions, the upper part of 
which is of amboyna wood relieved with heavy brass mounts well 

finished. In the arch of the dial are shown the age of the moon, the 
day of the month, and the following list of tunes played by the clock: 
(1) Mr. Arceangelo Corelli’s Twelfth Concerto, 1st Adagio, 2nd Al- 
legro, 8rd Saraband, 4th Jigg. 
(2) The Fugue in the overture of Ariadne. On the hour circle is 
engraved the maker’s name, ‘Charles Clay, London’. The pedestal, 
which is of Spanish mahogany and amboyna wood, contains Clay’s 
chiming machine with 21 bells. It is a fine piece of mechanism, 
driven by an ordinary chiming weight, though the barrel is fully 12 
inches in diameter. Dampers are used to avoid vibration of the bells 
one with another, and by an ingenious contrivance the music starts 
immediately the clock finishes striking. Charles Clay came from an 
eminent family of horologists, and seems to have worthily sustained 
his reputation.” 
In the opinion of the cataloguer a specimen of such indubitable au- 
thenticity should find a place in one of the important private or public 
collections of this country. (obersons) 


109 


223 PAIR OF LOUIS XVI PARQUETERIE ENCOIGNEURES BY 
RIESENER WITH ORMOLU MOUNTS BY GOUTHIERE a 
FRENCH, 18TH CENTURY 
The ground is of mahogany, rosewood and harewood, with panels 
inlaid in a diamond trellis design, with narrow dividing lines of 
boxwood and ebony; each has a door in the centre, inlaid inside with 
a similar design in harewood, partridge and satinwoods. In the 
frieze above a hinged drawer which is mounted with an applied 
pierced and chased band of ormolu with alternating fluted and 
springing acanthus foliage, the edges beaded. The angles are 
splayed, with convex centres and are mounted with finely chased 
groups of rosebuds, undoubtedly by Gouthiére; also pendent flower 
sprays beneath. The doors mounted with a beautiful lock escutcheon © 
chased with a female mask, Royal Cypher, the interlaced “LL” in 
acanthus-leaf design and framed by a flower wreath. The doors 
with a chased laurel rosette in each corner. An acanthus-leaf chas- 
ing in the form of a bracket applied beneath the centre of each 
door. The short legs mounted in cups of upright leafage. They 
are surmounted by plain white marble shaped slabs. (Slight repairs 
to borders) (Robersons) (2) 
Height, 36 wnches; width, 33 inches 


Illustrated in the private catalogue of the Fetherstonhaugh heir- 
looms from Up Park, Petersfield, Hants. 


224 IMPORTANT LOUIS XVI NEEDLEWORK AND PAINTED SUITE 
FRENCH, 1770-1780 
A settee and six armchairs. Beautifully shaped long settee with 
fluted and voluted frame painted white with touches of red, covered 
in rare Louis Seize petit point designed with sprays of flowers alter- 
nating with a monogram formed with the letters ““A.L” entwined, in 
pastel colors on a ground of soft yellow and red, rose festoons above — 
and below forming cartouches. Six armchairs with oval backs and 
shaped seats in petit-point of similar design. On fluted and tapered 
legs with cuffed feet. The opportunity to possess a suite of this 
quality very rarely presents itself. (Robersons) 
Length of settee, 7 feet 3 inches 


[SEE ILLUSTRATION ] 


110 


3 : Birr. 
tne 
di $0. ; 


Ltn 


oF se See aner ee 


cg ie aii 


BRBESOAWR SE & m 


: g < 


: 5 gee : Pe $ if : Pee se SHREK CRETE E 


LOUIS XVI NEEDLEWORK AND PAINTED SUITE 
—SETTEE AND SIX ARMCHAIRS 


[NUMBER 224] 


225 SIX SHERATON CARVED MAHOGANY CHAIRS 
ENGLISH, LATE 18TH CENTURY 
Rectangular backs furnished with handsomely carved and pierced, 
shaped splats. Panelled tapering supports. Covered in old glazed 
linen. (Sion House) : LOtg ae 


iG 


= 
g 
y 


226 ee AND MARY WALNUT MARQUETRY LOWBOY 

ENGLISH, LATE 17TH CENTURY 
In two sections, with one deep drawer and two other drawers, 
the front inlaid with geometrical and heart patterns in seaweed 
marquetry on richly veneered walnut ground and with finely 
chased drop handles and escutcheons engraved with winged amorini 
heads, the drops with profile portrait of William and Mary. 
The stiles are panelled with seaweed inlay. Panelled returns. Top 
with beaded edge inlaid with star pattern and heart motifs. A 
scarce, genuine example of rate short period of furniture making. 
(Sion House) Height, 3 feet 15 inch; width, 3 feet 1 meh 


[SEE ILLUSTRATION ] 
112 


WILLIAM AND MARY WALNUT MARQUETRY LOWBOY 
ENGLISH, 17TH CENTURY 


[NUMBER 226] 


PAIR OF ITALIAN NEEDLEWORK AND PAIR OF ITALIAN 


RENAISSANCE ARMCHAIRS WALNUT ARMCHAIR RENAISSANCE ARMCHAIRS 
[NUMBER 227] [NUMBER 228] [NUMBER 227] 


ead 


228 


PAIR OF TAPESTRY WALNUT ARMCHAIRS 

ITALIAN, 17TH CENTURY 
Very rare pair of Italian Renaissance chairs. The rectangular backs 
and seats covered with panels of old Flemish tapestry woven with 
swags of flowers and fruit, mainly in silk. The backs with carved 
acanthus finials. Broad armrests with turned baluster supports. 
Columnar and block legs with foliage scroll carved front stretcher. 
(Robersons) (2) 

[SEE ILLUSTRATION | 


NEEDLEWORK AND WALNUT ARMCHAIR OF WILLIAM AND 
MARY DESIGN 

The high back and seat covered in early 18th century petit and gros 
point of fine workmanship. Voluted and scrolled arms; scrolled legs 
with carved front stretcher. (Robersons) 


[SEE ILLUSTRATION ] 


114 


ae aaa ae 


ee ee a 


\. 


229 


231 


LOUIS XVI BEAUVAIS SILK TAPESTRY GILT FIRESCREEN 
FRENCH, LATE 18TH CENTURY 

Rare specimen, mounted with a panel of rare Beauvais tapestry of 

the period, designed with a drapery cartouche which contains an um 


of flowers supported on arabesque scrolls, in beautiful colors and of 


extremely fine quality. The frame carved and gilt as two fluted col- 
umns ornamented with flower festoons with vase finials at the tops 
and spreading supports. (Robersons) 

Height, 36 inches; width, 34 inches 


From Lady Fairbank’s Collection. 


SIX SHERATON MAHOGANY AND SATINWOOD DINING 
CHAIRS ENGLISH, LATE 18TH CENTURY 


The square backs of an exceptionally light and graceful pattern, com- 


posed of panels and moulded tapering side rails crowned with 
acanthus-carved finials. The head arches are of picked satinwood 
panelled with lines of ebony. Pierced backs in the form of ‘C” 


scrolls tied by rosettes and forming a lily pattern with flowered 


stems rising between. Upholstered seats; on square spade foot legs. 
(Sion House) (2) 


GEORGIAN MAHOGANY DINING ROOM SET OF EIGHT CHAIRS 

ENGLISH, 18TH CENTURY 
Six side chairs and two armchairs with shield backs of uncommon 
design with gracefully curved side rails. Shaped top rails and lyre 
shaped splats. Veneered with richly figured mahogany. Straight 


~ angular supports and underframing. Deep slip seats covered with 


red leather. The armchairs with bowed and scrolled arms. (Sion 
House) (8) 
115 


232 


233 


236 


Of slender proportions. Made in two parts; the lower a desk with — d 
four drawers. Hinged fall front concealing pigeonholes and — 


Babee i, 
is 


GEORGIAN MAHOGANY SECRETARY-BOOKCASE a 
ENGLISH, 18TH CENTURY — 


drawers. Upper part fitted with one door panelled in a handsome 3 
moulded Flemish Renaissance pattern. The centre veneered with a q 
particularly fine picked figured wood. Fretted drop handles of a — 
later addition. (Sion House) og 

Height, 6 feet 11 inches; width, 2 feet 6 inches 


_ [SEE ILLUSTRATION] — 


GEORGIAN MAHOGANY LIBRARY TABLE 
_ ENGLISH, LATE 18TH CENTURY 
Unusual shape. The leather-covered top rounded at one end and 
with gallery. Five drawers in the frieze. One end with pedestal 
cupboard, the other with fluted and tapered legs. (Robersons) 
Length, 57 inches; width, 35 inches 


MAHOGANY BOW-FRONT CHEST OF DRAWERS 

ENGLISH, 18TH CENTURY 
Fitted with three long and two short moulded drawers with their 
original and most uncommon pinchbeck knobbed handles faced by 
a boldly designed lion’s mask. The arched base is enriched with 
lines of hollywood and ebony. The top with beaded edge. (Sion 
House) Height, 3 feet 5 inches; width, 3 feet 614 inches 


MAHOGANY BOW-FRONT CHEST OF DRAWERS 
ENGLISH, 18TH CENTURY 
The gracefully shaped front with arched base is fitted with three 
long and two short moulded drawers, furnished with their original 
chased pinchbeck handles of uncommon pattern. (Sion House) 
Height, 3 feet 534, inches; width, 3 feet 534 inches 


JACOBEAN LARGE OAK GATELEG TABLE 


ENGLISH, 17TH CENTURY 

On eight columnar baluster supports. One drawer. Original top. 
(Sion House) Height, 2 feet 5 inches; size of top, extended, 
5 feet 1 inch x 4 feet 


116 


4 

’ 
F 
rr 


So 


ENGLISH GEORGIAN 
MAHOGANY SECRETARY-BOOKCASE 


[NUMBER 232] 


237 PAINTED FOLDING TABLE DUTCH, 17TH CENTURY — ] 
On three legs, one of which moves on a bracket, painted to simulates ‘ 
marble. Oval moulded top painted with a picture of a Dutch fleet 
approaching port with fully rigged men-of-war in the foreeoaa 
(Sion House) | a 

Height, 27 inches; size of top, 4 feet 334, inches x 8 feet Vv inches - q 


238 QUEEN ANNE NEEDLEWORK PANEL es 
ENGLISH, EARLY 18TH CENTURY 

In fine state of preservation. Centre is occupied by a tall tree and 
under its shade a lady in brilliant cherry-colored frock holds a spin- a 
ning wheel while a gallant piper, richly garbed in purple and yellow 
entertains her with his music. About them are grouped sheep, a 

stag, a cow, a dog and a hare in greens, and to the left and righta 
house and hills. (Sion House) Size, 25 x 24 inches a 


[SEE ILLUSTRATION | 


239 EARLY GEORGIAN PETIT POINT NEEDLEWORK PANEL 

ENGLISH, EARLY 18TH CENTURY 
_ Designed as a doorway with Corinthian pilasters supporting an arch 
with fretted ornamentation. The doorway frames a basket of golden- 
yellow, filled with softly colored flowers and leaves, and similar flowers 
are festooned under the arch. Background of soft rose. The work 

is done in an exceptionally fine point. (Sion House) 
Size, 25 x.18 inches 


240 ANTIQUE MIR SERABEND RUG PERSIA 
Extremely fine knotting. The centre field with delightful design of 
Cashmere palmettes in delicate pastel shades on deep red. Delicate 
border of angular Serabend vines on _ ivory-white ground. 
(Robersons) Size, 6 feet 2 inches x 4 feet 


241 SEVENTEENTH CENTURY ARMENIAN EMBROIDERED 
COVERLET 
Worked with a repeating pattern of sunburst and meanders in reds, 
whites and yellows on a soft blue ground. (Sion H ouse) 
Size, 59 x 68 inches 


242 EMBROIDERED CRIMSON VELVET TABLE SCARF 
ITALIAN, 17TH CENTURY 
Crimson velvet runner appliquéd with fine arabesque flower and scroll 
silk embroidery in colors. (As is) (Robersons) 
Length, 8 feet; width, 18 inches 


118 


ORK PANEL 
8] 


W 
2 
Lo 


E 


EEDL 
[ NUMBER 


QUEEN ANNE N 


243 


244 


247 


248 


NAPOLEON’S CARD TABLE 


Purchased at the sale of the Jumel Collection of Napoleonic relics, . 
1916. Octagonal folding top. Centre support formed as four round | a“ 
columns with gilt metal capitals. The base with four tapered and 


spreading legs with paw feet. Ornamented with ormolu mounts, 


(John L. Clawson) Width, 3 feet = 


CROMWELLIAN OAK WAINSCOT BEDSTEAD ef : 


ENGLISH, 17TH CENTURY __ 


Panelled headboard composed of a section of five vertical and two long 
horizontal panels, the latter embellished with applied Flemish mould- 
ings in the taste of the period. Moulded cornice. Plain angular side 
and foot rails. This bed is remarkable for the surface of its wood 
and its fine state of preservation. (Sion House) | 

Height of back, 4 feet 4 inches; width, 5 feet; length, 6 feet 6 inches 


CROMWELLIAN LARGE OAK GATELEG DINING TABLE 
: ENGLISH, 17TH CENTURY 
On sturdy square angular supports. Scalloped aprons and two ends 
fitted with drawers. The top is a solid one-inch beam. This table is 
of unusual solidity and remarkable for its size. (Sion House) 
Height, 2814, inches; top, 5 feet 10 inches x 4 feet 814 inches 


PAIR OF CARVED AND GILT PEDESTAL CONSOLES 

ENGLISH, EARLY 18TH CENTURY 
Formed as Renaissance capitals carved with acanthus scrolls and 
female masks, in the style of William Kent. Richly veined white 
marble tops. (Robersons) (2) Height, 30 inches; width, 26 inches 


QUEEN ANNE OAK CORNER CUPBOARD 
ENGLISH, EARLY 18TH CENTURY 
The front fitted with two upper and two lower doors finely moulded 
and panelled and hinged on fretted brass strap hinges. Beaded stiles. 
Richly moulded cornice. (Sion House) 
Height, 5 feet 4 inches; width, 3 feet 414 inches 


JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY 

On columnar turned supports with straight rails. Moulded apron 

fitted with one drawer with old drop handle. (Sion House) 
Height, 26 inches; top, 284% x 1814 inches 


120 


249 


= eS at bes = 
= AND °° Fl iene ENG RNA Ese Sens oO rset i 
a ® oe. a a 


Be 250 


251 


252 


254 


255 


On four columnar supports with straight rails. 
Moulded top. (Sion House) 


PAIR OF MARIE ANTOINETTE MAHOGANY SIDE CHAIRS 

) FRENCH, ABOUT 1790 
Purchased at the sale of the Jumel Collection of Napoleonic relics, 
1916. Open square backs, the centre panels with fleur-de-lys carving. 
Slightly curved tapering square legs. Stuffed seats. (John L. 
Clawson) (2) 


ENGLISH, 17TH CENTURY 
One front drawer. 


JACOBEAN OAK SIDE TABLE 


Height, 26 inches; top, 3114, x 2014 inches 


ENGLISH, 18TH CENTURY 
(Sion 


TWO-TIER WINDSOR ARMCHAIR 
Back and arms with spindles; turned baluster armrests. 
House) (2) 


WINDSOR TWO-TIER ELM TREE ARMCHAIR 


, ENGLISH, 18TH CENTURY 
Back with pierced vase-shaped splats and spindles. Baluster turned 
armrests. (Sion House) 


WINDSOR TWO-TIER ELM TREE ARMCHAIR 


ENGLISH, 18TH CENTURY 
Back and arms with spindles. Turned baluster armrests. (Sion 


House) 


SHERATON MAHOGANY TIP-TOP TABLE 

ENGLISH, 18TH CENTURY 
On a single vase-shaped baluster centre support terminating in spade 
foot tripod brackets. Octagonal top with embellished lines of tulip- 
wood. (Sion House) Height, 271% inches; top, 17 x 15 inches 


ANTIQUE ITALIAN POLYCHROME AND CARVED MIRROR 
Small rectangular acanthus frame flanked by a pair of cherubs termi- 
nating with scrolls. Base with cartouche with Latin inscription and 


date 1659. (Asis) (Robersons) 
Height, 36 inches; width, 27 inches 


121 


TO BE SOLD BY AUCTION —— 
| AT UNRESERVED PUBLIC SALE 
FRIDAY EVENING, SATURDAY AFTERNOON 

DECEMBER FIFTH, SIXTH | 


THE ANDERSON GALLERI 
MITCHELL KENNERLEY, [Passe 


NEW YORK > 


we 
‘snc 


} 


uid 


i saa, 


1 
¥ 
4 
Re ae ( 
* : ' 
i a 
7? } ] Fs, 
oi pea. 
"7 ' 
wee oe 
_ P 
a 
an 
s 


GETTY RESEARCH INSTITUTE i 


: ha a8 { - iv t t ~ td \ ro af | 4 
=” g ( ‘ ) \ =\. att er ‘ ; \ 
FA ny 7 : te; Be \ \ [ 7 \ 
Vite S aa 2) 5 ee, ) 
ay aT a | . O - i? / 


3.3125 01694 1755 gt 4\ j ch ‘hs A, a { a hy 
Aaa thy! atte a me . 


—~ 


we 8) Lome ae 


a Fie WP 
Peer re hgh ae 


¥ 

ie ae pa EE YEE 2 

yi aplaeO7 Oe Eh 
Sian eae 
Lago 


